TORI

win

CALCUTTA SANSKEIT SERIES

No. XII

Genera/ Editor

NARENDR^ CHANDRA VEDANTATIRTHA,

M. A,

SUTRADHARA HAVANA'S

DEVATAMURTIPRAKARANAM
AND

ROPAMANDANAM

PLACE;
Date

7,

THE SHELF
)

....

'

C?'

MP,

DEVATAMURTIPRAKARANAM
*

AND

RUPAMANDANAM
*

MANUALS OF INDIAN ICONOGRAPHY AND ICONOMETRY

Critically edited for the

fast time with notes

and

By

UPENDRA MOHAN SANKHYATIRTHA

With an Introduction by

HARIDAS MlTRA M.
f

Visvabharati

A.

Santiniketan

METROPOLITAN PRIKTING AND

PUBLISHING HOUSE, LIMITED
CALCUTTA
1936

tt

1TE &

if,

PlIBLIi

I;

PREFACE
Architecture and Sculpture, in a

Indian

of

back-ground

and

philosophy

way, illustrate the

are

that

religion

blended

still

together in tbis country*

Sculptures and pictorial representations of our different gods

For example, Y&tltdramatadipika explains the

meaning of the image of Yisnu (Nanlyaaa) with his four hands

are significant

padma

lotus*

6ahkha

itself

the

idea

made

of

represents

the creation

supports
the

being

Supreme

Spirit.

preservation,

destruction,

significance of

realized

within

only

the

gross elements, himself

and

granting salvation.

means

by

of

inejlitatbn*

Thus, in our Architecture, so far as temples, stupas,

we

concerned,

the same kiad of symbolism.

find

importance to our different texts on

peculiar

creation,

viz.,

(iwhcakrtijtt),

Divine Dance of Nataruja can

heart

the

ho

that

held)

of Nataraja, the 'Lord of

rest

giving

fire,

Thus, the figure of

generally
five

activities

The
be

(as

The image

Dancers', represents his live

deepest

cakra wind, gala

the earth*

the

and

*club

g&da

'wheel',

represents ether,

pad ma water and the image

Xfuftyana

raira

hearing tuhkha 'conch-shell',

etc*,

are

All this gives

$Zpa, such

as

Sutradhara Mandana's works.

The

v a

a in u r

p r a k a r a n a

Indian Iconography and Iconoraetry by Sutradhara

who has

to his credit,

and Sculpture.

The
time by

many

that

by

it.

text

present

has been commented

himself-

same author and

Along with

treating

the

nd

texts

have

a kindred

beei* edited

this

upon for

n a,

Ike fir4

has been published

Eupam

understanding of the principal

The

This work has not been published before*

the editor

the

a text on

on Indian Architecture

other works

in full for the first time the text of

of the

is

a n d a n a

subject.

work

will

It

be

is

hoped

facilitated

from an original manuscript,

Cat.

no,

Gr-

belonging to the Asiatic Society of Bengal,

editor could not do more than what he did for

89,

The

Calcutta.

want of adequate manuscript materials. But though the texts

have been edited from a single manuscript, the editor may be
said to have done his work fairly well and
the
learned and
lucid

commentary of the

De

v a

m urtiprakaranam,

which he added for the first time, to explain the

hoped, be considered, a useful production.

Most

text,

will, it is

due to Mr. Haridas Mitra, M. A., of

the Viavabharatij Santiniketan, who has kindly written an Introduccordial thanks are

He

tion to these works.

the

history

has discussed in

of literature

on Indian

the various aspects of

Architecture and Sculpture
it

as well as other relevant matters.

This introduction has added to the value of the volume.

An

index:

of

important words has also

been appended at -the

enii

We

have the pleasure to express our thanks to the Secretary,

Asiatic Society of Bengal, for kindly lending us the manuscript.
Put for this generous co-operation in the matter it would have been
quite impossible for us to bring out these texts.

We
heartiest

shall

if we do not express
our
Amareswar Thakur, M. A,, Ph. D.,

be failing in our duty

thanks

Vedantashastri

to

of

Prof.

the

Calcutta

who

General Editor of the Series,

University and formerly

did much for the furtherance

of the publication of these works.

Finally,

we may hope

any imperfection they may

crept

that the readers will excuse us "for

notice, especially

misprints that

have

in.

Caloittaj

1936

Narendra Chandra Bhattaeharya

INTRODUCTION
SUTRADHlRA MAFBANJL HISTIM1BANB

1.

WORKS.
Hie Deminmnrti^a^aranam
1

images of deitleB forms a part of the

Sutrahhrit

AH

ture.

(literally,

Mandann, the son

his title implies,

one who holds,

man

of letters

and

Mandana was an

father,

Kumbha, the

IB

a work on sculp-

architect

Rfttradhara

plumbMine)

oriksetra were under the

celebrated king of
1

of

OB the

section

JM u^5$tra (of Sutradhlra or

plies or wields the

Kumbhakarna Mahenclra

'the

a-,

of Hriksetra)

Both Mandana and his

patronage of MahSrana

i,

Medapik

Mewar

$stiBguished heit>5

and a noted builder of inonumeiits,

Kumbha

was an oatetei^i^ personality in the Mstory dl late Medieval

India (15th C.)- MaharSnS Kumbha's coESOrt was probaWy
Mirabaij well-known for her renunciation and deeply religious life*

Kumbha (Kama Mahendra)

(jovinda

Jayadeva and

of

govindutika).

I.

Two

"aft^^S

wrote a commentary on the

it

is

other works

entitled

Ka$ikapri{/d?

(on music) are also due to

'S^lf^TO^fe^

Bombay.

Published

in

the

Kuvyamkl

him

2.

series,

^ |n

Ninmyasigar

Prcss t

He also wrote the

the 8anglta~ml,mam$a and the SangUa-raja.
Kumbha
is said to have constructed
Pi^yaratnakoSa*. Maharana
Tower

the celebrated

It, therefore,

of Victory at Chitbre*.

stands to reason that

Maharana
Kumbhakarna
*
.

should be a patron of architects and sculptors, just like

Bhojs of Dhara ^^PRtlPT^-^Rr^rf^r^ Mt^t^^r (llth C.)

King

who

s
compiled the 8amaranganasutradfiara , a work on architecture and

*to

whom

other important works, such

as, the
(Alankara) and the Sarasvat^JcanihabJiarana;

are ascribed

j^ngara^aka^a
or

like

many

the

Somesvaradeva,

King

Calukya

12th

C,

),

Urn author (or the patron of the scholar) who

compiled the
work
the
Manasollasa or the Abliilasitartliaencyelopeedic

8ltraIl*ara

Mandana or simply Mandana seems

to have been
on architecture and sculpture. The

writer of treatis^

See 1^ AufirecM

3*
(a).

(F.

Catalogs Catalogorum VoK

Kidhorn

Central Provinces.) 96.

<b).

lor

P-HF. Kielhorn:

Some

4.

from

May

scholars

structure, namely, if it

of the Sanskrit

Lists

gOTernment during the years 1877-78

cripts purchased

aIL

to

November

&

manuscripts purchased
list of the manus-

1881) 15.

have douhts
regarding the original purpose of the
was really a tower raised to
commemorate a victorv
Tke
i**

*?***?

''

ofMaterana

KMa.

i.

this magnificent
structure,

Fergusson says
plain parts , this mass of decoration is so
subdued that it in
either with the outline or the
general effect of the pillar.
infinitely better taste than the victory
pillar </ Trajan."

"It has

BO

ff.

1869-78, and a

journali of t&e ?',?

Indian Soc. of Oriental Art.
CaL, Vol. I

Regarding

p/ 1 1 1

I,

Catalogue of Sanskrit Mss. existing in the

ao

waymt^es

...It is

5.

ati

Samarahganamtradmra,
astn.

edited

XXV & XXXII,

^ edited by G K.

COS.

by

Mahamahopadhyaya

a Vols.
(19,4, as) ,

Shrigondekar.

Baroda

COS. XXVIII

ff

(
is

idlowing

of works* ascribed to him, and

list

some

of

them

differently m Mss*

sfyled

Vlste-sEra.
K&ja?aliaJbhs Vistofestra*.

Vis

KSj^ma^ana,

Xpa-tattva-

Vastamaii$ ana.
Mandaria's treatise on architecture bears the
*V4sto^astxa', and also
According to soraa scholars,

titles

*,

called the

it ia

possibly farther

^Raiavallabha-ma^dana' (or simply 'Rtjavallablia*) or

the ^Sfltradhara-mandana' 1 *.

In

the

unique

the

of

library**

Sarw

Kavlndracarya (17th C*) were stored some Mss. on art (architecture

and sculpture), among which the following are worth noting

2146 iN^iteW, 2849 ^i<a*i v ** 2150

u
This book2151
^'f, 2152 <fi<f^*lRl^, 2153 *fl*i*H*lftM.
a
Decc&n
a
^ad
Brahmin
lov^* Kavtndi^ciya was
very learned
j

man, the head of

Patidit couoiBauiiity of Benares, of

tfee

his

Catakgus C&tatt^w&m VoL I, pp. 730-31.Indian ArMtect&re

Also, Prasanna Kumar Acharya
Manamra-Silpaka$tra+ Oxford Univ* Pr*, 1927. pp. 103-5.
7.

See T. Aufrecht

8.
.

First noticed

D. M. G.
9.

10.

Two

Supra. Edited by

of

Sanskrit

Mss. in

and

Eggeling

P. K. Acharya

E. Windisch

Op.

Rimayatna Ojhl, Hindu Univ,

Pancjttt

in tke Library of the fndia Office. 3142, 1291

11.

Lists

Vol. 42, 538.

See Note
J.

by G. Buhler

Catalogue of Sanskrit
3147, 2253.

e*/M p. 102.

Kavindracharya list. Edited with Introduction

R.
Anantakrishna
by
Sastry with a Foreword by Dr. Ganganatha Jha, GOS.

No. XVII, 1921.

^fiTOPimw*^T^K^t^

and possessed knowledge in all departments of Sanskrit. Ete

was rich, healthy and beautiful. After finishing studies he
took to Sannyasa, thus showing his indifference to the world.
On his demise his invaluable library was dispersed.

by the Sutradhara Mandana had titles

the sense of decoration' and it is not
works had originally such titles.
On the

Many of the
ending in Mandana

texts

impossible, that all

his

in

other hand, the learned Kavlndracarya kftew the

the

Rajavallabha and
be two separate works
perhaps, the
Vastu (architecture), while the other was on Silpa

Rajavattabhct-silpa to

one was on

(sculpture).

The

Rajavattabha-mandana and some other texts by

Mandana, seem to have been very popular. Within two centuries,
'

after

compilation,
invaluable library
of

Mandana found

(Marma-sthana)

we
of

find

copies

of

Kavlndracarya

their

way

his texts

deposited in the
the works

From Mewar,

to Benares,

the

great

nerve-centre

of Indian culture.

From

Benares, Mandana's works probably spread to other

13
as well as eastwards 14 ,
places westwards
Mss- of his works are
also met with in the South 13
where they might have been
easily carried from the Central IndiaThus it is evident that
,

Mandana's

handbooks on architecture
popularity witti artists

13.

by Bharati

and sculpture,
and craftsmen.

enjoyed

Apparently one of Mandana's works as published with

diagrams
at Baroda, 1891, see P. K.
Acharya Of. cif.,
:

p. 103.

14.

was published by
Riji RSdhakanta
zn JteK*/**Mte-w}aJa
his
Encyclopaedic Dictionary,
aMa-kalpa-druma. See
Stlpa-mstram famjmma+j.

^^^

eXtraCtsfrom the
-

A
A.
Gopinatha Rao

^P^an^ana

EktnenU of Hindu

have been made

Iconography. Madras.

in

1 SOUKCBS OF THE
DEVATlMURTI-PHAKARANAM.
For compiling his J)mP. Sutradtera Mandana seems either
to have chiefly utilised the South Indian texte, or to have actually
based his work on them.

Indeed his IhnP.

more

is

Indian than N. Indian in

S.

most probably, the

art of tempfe-aidyteeture was already slowly dying in the North
India, while in the South it lived with virility.
This

character.

would

at once

show

But he made

Jiyam&s.
the

is

Mayamat&m

IhnP.

Mandana

turned chiefly
striking peculiarity is that he
evident, the Tamil $aiva or Vaisnava
te
and
copious use of the ^fljwrofw-am

Naturally, for preparing his

to South Indian sources.
Another

never utilised, as far as

that*

both probably from original Malayalam sources.

For some reasons, not evident, the 8. Indian jigamas

were not m accessible to Handana. Either Sfct texts in the Tamil
*

script^ often

to

with copious globes in

Mandana

and the

or the lines

Tamil lands
is

eventuality

all

the

Temamkr, ware

of communicalion between tUjputana

were beset

more

not intelligible

with obstacles.

plausible,

when we

Hie

kfcter

take Into account,

the unsettled political conditions of the times.

Repeated invasions ami onslaughts of Ate fierce Turks and

Mongols interrupted the normal course of erents In Northern,
Eastern and Central India. And, the warriors* swords were more
In requisition then than the painters' brashes or die

and

lines

stone-masons*

pellets.

Stlfarainam of Brikumara. Part I. Edited by Mm, T. Ganapati

1922 Ditto* Part IL Edited by K. SSmbaiva Sistrl, 1929.

16.
Sastri,

17.

1919.

Sfafanmfamof

Mayamtiiii. Edited

by

Mm*

T. Ganapati

Bistri,

the Northern

Among

Mandana seems

Texts,

certainly to

8
have utilised the Visnudharmottaram* , in the first instance.
This is, traditionally, said to be a part of the Garuga-Puranam

more

Garuda-Puranam**.
properly the uttara-Wiaga of the
20 VP.
belongs to the second part
According to another opinion
of the
,

'The Vwnudharmottara
of a Parana,

is occasionally given out as a

part
the
Garuda-Purana, but generally it is counted
namely

an independent Upa-Purana- It is repeatedly quoted by Alberuni

as the Visnudharma'.
It is a Kashmiri Vaisnava book of
encyc

clopedic character in three sections. Section I deals with the

usual themes of the Puranas--- Section II deals with law and
politics, as well as with medicine, the science of war, astronomy and
There is in it a prose section -'Paitamaha-Siddhanta'
astrology.
as this is an extract from the Brahma-sphuta-siddhanta written
by
1

8.

M.

Winternitz:

History of Indian Literature. Vol

I.

(CaL

1927) p. 580.

Srlvisnudbarmottaram, or, Visnudharmottara-mahapuranam was edited

MadhustSdana and Madhavaprasada Sarmans from a
ms.,
obtained by Mm. Sudhakara Dvivedin and
published (from Briveakafe^vara
Press, Bombay) in Samvat 1969, 1834 Saka (A. C.
1911-12).

by

Pantfitas

See forTransl. of chapters

Vimudharmottaram (Part
of

Letters, Vol.

XL

III),

2, 27,

35-43, Dr. Stella Kramrisch

The
on Indian Painting. Journal
and The Cakutfa Review, Feb., 1924,
:

Treatise

(Univ. Cai, 1924),

P-

A. K. Coomaraswamy
Ditto.

Transl.

(Patoa Univ.) Ed. by

Bee,

f.
.

& R,

19.

also,

Visnndkarmottara

VimudharmMara. Chapt.
J.

N. Camaddar.

Haridas

A. S B., (N.
m

Mitra

8.) Vol.

M. Winternitz

(III), 41. JAOS., LIL, 1932 ;

43, in Astitosh Commemoration Vol.

Sadasiva Worship in Early Bengal,

1933, No. i. Appendix II. Note a.

XXIX.

Geschtchte

der indischen

Literatur,

Band

(German Ed.) 480. i88a.

:

20*

Classified

See Introduction

Index of Sk. Mss.

in Skt. to the

in the palace at

Ed. of Text. Srivenka{;e6vara Pr.

I,

>

628 A. D^ the VI?ntidham0ttera must hare been

compiled between 628 and 1 000 A, D. Sect* HI, too, is of s
miscellaneous character, treating of (lancing, singing mud
music,
sculpture and painting (the making of Images of gods) and archi-

Bratmagupta

in

wy

tecture (construction of temples)."

The Jfa#f$-Ptr3i$& the Putma~Purana

Purama and the BraJwm- Parana were also used
?

the

for

the

Linga and (Visnu) Silggrima sections ; and passages from the

BrJwi-Samhita, have been quoted verbatim^ in the Adhhnta
section^

Another
Hiia
.

more sparingly

text,
is

certainly a ^ilpa

consulted, is

wk

the

of the Northern

But the work most profusely drawn upon,

often

School",
verbatim,

This may be identical with

certainly the ItttpamaiufaiKi**.
the text of the same name** 3 the authorship of which i$ ascribed to

is

Mandana himselt

21.

Haridas Mitra

Skt. Seriesj Benares

22.

BttdMafiratimalaksMtfyam. The Sarasvat! Bhava^a

Introduction p. 3. Also, see Note 27, Supra.

Np. 48.

A* Gopinatha Rao

Part IL
23.

See Section

j.

Ekm^nte of

jKTindu fQi*ffra/>hy

VoU

I,

2
ON THE CANONS OF INDIAN ART.
4

names of eighteen
35
or
of the Sciences
Masters
_ JRsjh^re) Vastu3astn)padeakas
v
of Architecture, Sculpture and Painting, as follows

The ^atsya-Purana

enumerates the

..

firarerar:

The Aff^PurcMia?
texts, as follows

gives

another

list

of 25 authoritative

f5r

TT^F u ?

II

24.

25.
26.

Indica).

Mafsya^JPurana. Ananda&ram Ed. 1907.

See Haridas Mitra : Op. cit.
t

Agni-Purana*
Chap.

by

Rajendralal

Chapter 252.
Mitra.

(JBibliotheca

39, v. 1-5.

There are some

The

Edited

II

different readings,

noted in this edition

Ind. Architecture^ p 165

texts, quoted are from P. K. Acharya
not
noted, but seems to be corrupt. See Note 3 1 Infra,
on^
:

a
Another aeecmnt given
in tt&my T^rions

aw

*[

in

the

mtzr*

it

li

Vmmkarm&^&k^a^*} and
a complation of a later

Is eridaastly

tl

tt

the Bruhnmnic masters of

Among
the

Vaxtu,

and &il

names of Vi^vakarman and Maya are mentioned very

Vunwlharmottm-am^

The

gives

the

often.

traditional

or

painting, and Its canons, (i. e.

mythical origin
how the xage NSr^yana irst painted on earth
Citrax&train)
of

the

of

art

the figure of a superbly beautiful

he invested
damsel, and for humili^iBg the heavenly
Into
her with life11^^ (iihb) sh^ was
BfWgbfc

with the juice of

leaf

mango

^mrum$
:

lng

Urca& (earth-bom)* The girwl

the art of painting (Cit-ra), taught Vi^vakamaati

called

ite

The Citraak$an(Mt^& of N^najit mentions

Pi-ahlSda and Nagnajit, among the masters of paieliiig,

after

adoration of gods and goddesses (*iatnu#&a/ '<**), and the benecfefcicm

the
with
Bkfo&fykh printed from
&rl-VLvakartnaprakasa^
also lithographed from Siddha-Vinayaka
tr.-ve.lkat<2>ara Pres, Bombay
Yaotra, Eenares. See, also Notes 41, 42 post.
2?.

$8-

j&ify'ffidiuttdkATfnot't&tam.

Berthold Latifec

29a,

Afalert

Part

111^

D^knmmt* dw

chap. 35indite*** JK*u**t*

*>a$ Citrala&$ana* * Leipzig, 1913a

JSntes

10

the definition of the

subject-matter (yastu-nirdesa]

etc., in the regular, Ka^i/a style.

An attempt may be made to render these important passages

back into rhythmic Sanskrit, from the German translations ir
.Dr. B; luaufer's
admirable edition of the textHie original
Tension of which

of

probably lost, though a Tibetan

has fortunately been preserved*"205

it

is

The M&t&ja-purfawm,
Sa

the Agni-purcinam, the ViSvakarmaand the Brhat-samJiitfi, probably have handed down the

northern tradition of their times.

The Mavwusara*

is

the most complete architectural treatise

These conjectural reconstructions

unsatisfactory though, they
might be of ifttewsttptbo^ to whom the German and Tibetan editions
are inaccessible or not
sufficiently intelligible.
P, K. Acharya
Bfana$ara. Chapters Ixviii, Ixx. i, ii
Indian Architecture
according to Munasara-lilpa-msira, pp.
I6 4 ff. "...Evidences are
undoubtedly more authenticated and substantial
...regarding the connection of the Manama with
$0.

also,

Kid

Matsya-punma^So

on the one hand and the

be justified in placing
dose to the Afatsy^unma.

whM

AD

&&k a t- s*mhi& (550 A.D.) on the other.. We shall

the Manama before the
Brhat-samhita and some-

Jn any event, we venture to hold that

the extension of the
period of Manasara from 5
Q
eviden^s
500
to 700
A. P." P. K.
\
Acharya ? Op. c
p

the

warrant

11

extant

of

afrel

tiirty-two 82

we have a

this work,

authorities

critical ecL

It gives a list of

11

^
)

^ u

ti

j|

ft

1J

The
is

difficulties

authorities

tind

in
;

If

in the

list

confusing

Ayin^m-rSn^m
apparently eornipt- n*er6

bdl

fii^otMCic

ist81

olror

25
all these are said to be Panear&tra
if
probably lx>th clams were Vaimava,

the readings of
on the other hand,

ami Saptaratra works

tlie

all existed.

the latter school at

a>^e

Ayni-pummM

The Mmwffipa

3*

llat

of

is

equally

v. 4, sIxmM be
reading in the Ag*~puratiai* 9 chapteir 39,
read *rra*i
must
we
in
v.
it.
But
allow
the met^e does not
5,

9*Ttt**it

See Note
five

26. Supra.
names, after all,
32.

Or

The list
,

<Mfr

9SKs^l*

wd

not

o^

nsm^rw^

there does not seem to contain (25) twenty-

See Note 30 Supra and

text.

12

same names occurring repeatedly. O

names we are not sure if they are personal names or the titles

cbbioas

similar

or

o;

works.

The Tibetan

mk an-po

text,

3 of
dpag bsam Ijon hzan

dpal-abyor (1702-1775V

traces

Lama

Suin-pg
the origin of the

ye-ges
how he painted the figure of a dea<
art of painting to Nagnajit :
Brahmin child and how the god, Brahman invested it with life

Later on the art of painting was propagated through Visvakarman

and Bsi Atreya who discovered calligraphy. The latter is knowr

from Tibetan sources, as the author of an iconographic work, whicl
is

preserved in translation, in the Tanjur

34 .

few more authorities or masters are also knowr

from (stray mentions in) other sources- Their works are existent
mostly in Mss.

Names

of *a

a Sftpa-gastra ascribed 'to Ka^yapa, the Kasyap36

It, has. been edited
ui&0: called ^tfee Am&iwi&d-*bheda,*
Is, said to have learnt this science from Siva.

There

Is

The

^Lgastya S&kaladhikara

is

ascribed to Agastya

3T

an excellent but rather voluminous performance, is attributed to Agastya, a sage whose history
Some few sections
occupies a conspicuous place in the Puranas*
only of this work. are to be now met with ; and the portion which

work

entitled Sacatadhicara,

Pag
34*

b&tMfr

l/on

Ix&h.

Ed.,

Saratcfiandra Das. Calcutta,

]Prafiifo(i^to&$a^'tt&may classed trader

Tanjur.

Section

1908:

Mdo

fSttra-vftti), $iif<iw^a -&folras.

f

35.

For Mss of K&kyafiy^ see Catalogue

Fbl.

XXII.

Oriental Mss.

Library Madras*, pp. 8755^. Nos. 13032, 13033. Also, Qppert : List of
it Mss. in F*rwate Libraries of South India, Vol. II, p. 395, No. 6336.
I&kyapvya, quoted
from Poona*

Cat.

VoL

by Varahamihira.

Edited in

See P, K. Acharya
Indian Architecture according to
pw loo. For Mss. of the work, see Orient. Mss.
XXII, Nos* 13046, 13047* also 13058.

lias

as

subject

but
in

it is

my own

come under

yefc

as

of

sculpture
so diffuse, that

similar

Jaw?&&ra, the

There

is

if

we suppose

largest at present of
&i$o,

is

exclusively

oa tbe

with die function of statoes

the whole

work

my

collection."

to be written

must considerably exceed the volume

it

style,

observation,

<x>nnected

of

111*

the Siinakk&mart^v&$tu8d^tra*i

of Sanat-

kutnlm, who aefeowJedges his ifebfc to other ^Icat't/iis, among

whom are Caa<J and Yama, BfaSfgmra* Afigtras, M&DU, Vy&sa,
Bttfgn.

38.

Rim

Riz

JSsmy

tk&

ArcMfo&WG

f 'tip

JEfindus^

(London,

M. i>ccc. xxxiv.) p* 8.
trfhe

small portion which has come under lay 0feervatkm of the work
the universal authority*, does not famish sufficient

called sacal&dkictr^

data to form any opinion of the precise time at which it was composed ; and
in the section which gives rules for carving statues, "...the only part, ..seen, I
n 'who have been admitted
find no mention of the saints...
among the inferior
u
divinities."
lt is generally believed to have been composed by Aga&tya,
under the auspices of the founder of the Pandyct govern men t, a circumstance
l

admitted, would give to this Work a very high antiquity. Bir*

Wilson,. ..places this event three or four centuries before the Christian aa,

which,

if

although in another place he fixes the date of the eivilizatioii of the SoantJk of
tt wtefe tMs cwjectw? is
India, ten centuries before Christ, but"tibe data'
Mst of the prim>ft -f Ifee uHuwigptt* and
formed is imperfect. There exists a
their contemporary Ck^la and Ckera dynasties, many 0f wtKH appear to

kg

have reigned long anterior to the Christian aera, Ittid their celeWty to have
attracted the notice of Ptolemy. The few facts ,.. recorded of those dynasties
.-are unfortunately inadequate to the formation of. .sketch of their history y
or to trace their chronology . ; but the varioiis acoouBts...of these stodeat
monarchies, though they usually oooaiBence witii tfce ^alie^: ages, and are
w

blended with* --fictions, would

stilt

afford* ** proofs

t&e e$tabtislinie0t c^tb^e

And as tlie
an earlier period
to
have
baen
composed by Wf&sa^ in the
J/afod&fairaf, which is believed
of
mention
the Ptindya and Chh& governments,
beeping of JS&liyugt makes
*
for
we am* give them credit
higher antiquity. Ratn RA^ oj>, cit., p. 10-11.

\principalities

than... hitherto assigned.

at

For Msan see Eggeling, III.

Qrimt. M$$* Libr^ Madras^
Cat, VoL XXII, NO&*, 13060-13068, there are nioe Mss*, mostly fragmmts.
39.

3151, 2680

P.
j

Acharya

6ppert, VoL

Of. cit^

I,

p.

102,

No. $239.

la

There

also

is

14

ascribed

Sanisvatlya-silpa-tMstra*

'

Sarasvati.

..

The Paulastya, Sarasvata, Maiiohdlya, Brahma, 'Kaumudlfa

41
Nar&yayiiyn ($ilpa-6astras. ?) are also knowa through quotations
similarly, are Vdsistha,

Narada, Varaha,

Mand&vyd^y

Angirasa, Dhruya, Gautama,

are
also mentioned * 3
and
Manu, Vyasa
Bhrgu
Indra,

Bhargava,

Gargeys

The

said

Apatf&jita-prcclia** Is
of
Aparajita ;
request

at the
while,

karman

the
47

it

to

be

revealed

by GCH
was quoted by Hemadri^
ascribed

is

Ap&rqjita-v^ti^sastra*

Vi^va

to

4''**'

was known long ago and a GargyaBoth have been preserved in modern

Garfft-samhita
-

also

extete-

Op.

cit..

Vol.

p. 714.

I,

'

'

'

$L

Orient. JMss. Libr., Madras,

See"

Jiia$afngraha.

Cat. Vol.

mentions the sources

It expressly

it

XXII, No.
has heen compilec

from.

See P. K.

42.

Appendix

I. p.

A chary a

Quoted

803.

Dictionary

See Oriental Mss. Libr^Cat. Vol.

43.

An

Hindu

of.

Architecture,

Samgraha-siromani by Sarayu Prasad.

in

XX1I V No.

13057,

was announced long ago in the

44.
GO3. But the work has not yet come out. Dr. Bhandarkar Report
{ i88j-$4 )
P 2 7^^ 5*^3 voce. Compare also feilpa-grantha in Eggeling
edition of the Aparajita-prccha

O/,

Mss. 3152,

cif. t
j

QtsotejJ

43.

f/tf%v Vol
t>r.

46.
JLibraries
,

45?

a,

47

b.

by HeEnadri

in Parii e&akhanjla 2 660-62, 819"

l

Aufrecht

JI f p. 4.

Bithler

Catalogue of Sanskrit Mss* contained in

private^

,1872^^.276.
Varaharnihira's

fetsdcttiction

dix

by Kern,

Bnh^t-s.l'n^hitj,.

p. p. 33

F. K. Acharya
Mss. R.

sub. wetf.

Dictionary of Hindu

ftt

in Devanagarl diaracter

(Ei M

Bibliotheca

Indica).

ff.

15.

96.,

in

copied in 1874."

Architecture.

Trinity College.

AppenCambridge...

15

"According to the MahEbhSrata 9* 37, 141

is a
oa
&e
imm^d
SamsTOtI,
place Qai-ga-arotas, **Gaiga's
ascetic
after the venerable
Garga, who was feints CHI aoGGtt&t of

stream",

knowledge of time", "and the nunremefits of di

"To the mime (later) period (of Indian
Ixxlles".

his

the

also

belongs

of

Qai'gl-Bamhlta

Garga

who

was

highly distinguished authority on

regarded as
which exists,
the
Vrddlia-Garga-^inihita,
dealt,

with

chiefly

astrology

1 811
'

Astronomy'

but

also eoataiiml

it

it

is

(discussions

true,

on)

."

The Brhat-samMta** *
1

of

VarlhaiBlbiiB

Maya, Vi^vakarman, VaS^tha aad Nagaaji^

and Manu.

Works

always

Astronomy

mentions G&rgn,

also, Bhlafcara

of Bhaskara

and Ganapati are also quoted from, in

modern compilation these may be authentic
^tLpamstral^ras whose names are known from ct&er scmiws, and
whose works might be preserved.

the Vasta-swanl**, a

Gsnapaii is menfe)d i^aong later writtrs

a master
by M^dhiBi4nfe Samsyatl in life Pragfawbhed&**i

of
48a.

M. Winternitz

Gesc&tckte IUL pp. ^5^5?*

fem^E^ad

in the above translation are ours.

Bengal

men tary

JBrikat-samkita* Edited by Kern. Bibli$A&c& liidica^ Asiatic Socedited by Mm. Kudhakara Dvivedin with Bha||otpala*s coinVizianagram SkL Series^ Benares.

also,

Op. cff. Appendix L

Benares^ 1901, Blilskara
by Matt;praslda
Variahamihira's JEtrhat-satnhtta, (Ed. Kern) Ch. 58^ 52.
49.

P. K.

Acharya

Piinde.

These surprisingly informative and

50.
in the ordinary edition of the Pra$thiniabheda
e. g. firom Bri

Vanivilis Press, HrTra-'igam,

new
by

1912.

is

quoted early, in

texts are not to be found

Madhusudana Sarasvati
Nor are they to be found

hrl

in the closely analogous passage in Hrl MadhusQdana's learned

commentary
to the
edited by Pangkar Lafc^apa

SlVA-MAfflMNA-STAVA,

|sfirnayasagar

Pres^

Bombay u^der

Vasudeva,

the mpst fan^o^s aq4 oft-quoted verse ;-^

16

?^. ^rarrsraui

(I

^^^3Wwar-*JT^^-%?w^^

^3^(^)^^

fisnF
it

The Prasthanalheda

also mentions

Bhimasena as the author

of the canons of painting, Citrakarma-sastram

*5-

II

The
tfae

satne

Pvasthanabheda further informs that

,Ka^yapa

author of a voluminous Silpal&stra

^^^^^^

identical with

elucidations or

feis

seems to bean elaboration

comments

of,

if

not

to the

passage 'ufat HW%' in

the above verse, of the Ode which is one of the
gems of Sanskrit Literature.
This superb verse may be thus freely rendered into
English :

Diverse

are

the

canons

viz.
the three (revealed Vedic
Texts)
doctrines of the Pasupatas and the
Vaisnavas
mayJ>e supreme, or that one may he salutary and good.*>eople
patks s straight or circvitous? owing to #ieir different

Yoga,

the

17

the

"It is true th&t the

treatises

on

as&&$f

Mlpa

Rfe

Rfc says 1** ?~-

Hinclus were in poasasslon of

architecture, sculpture,

&c^ whidh

effectively

we ealfed

the

ilpa &8ira, but unfortunately few traces of them remain,

There appears to have t>een, according to some, ti&irfcy-tw<v

%d

sixty-four, standard treatises on the above-

aoooi'diag to others

mentioned
In a series of memorial vwees pi^eserred among the

artiste,

recorded the names of the authora or tides of the aboye n*anOf tibe*^ ttitrty4w ai-e etlted
tio^ed aixty-foar toeataaft*.

or priixripaU aad thirty-two

wntain

(veTsae)

of the

//>#

who

deities

or subordinate*

liltie

&an

more

revealed!

tike

$lAeB

particular

art or

temperaments. But like unto the rivers, which take direct routes or
along circuitous courses, and yet, ultimately f find their ways and merge
into the sea
even, like unto that, indeed, O
my Lord, you alone are
!

the sole Refuge of the

These three

human

beings.

most

important refeimees to the ancient

Bliima
and Kaiyapa
|te fet two
Bhagavln Garmpati,
in
are
be
to
ftmnd
Ffr&JKt&&t$&
being especially strilqirig
7Jt*#jw f/k
Sttmt** R^prtlaoe4 by Faalit T^ Sufer^ya^ Ss^trj ol
Transi into Eng. by the Late Ratanlal M* Mo%" ityftf ]$*

Sarma

V. B. Soobbiah

of Bangalore.

there are some

& Sote.

Bsti^gatee,

anachronisms

in
the edition, as regmrds
are
there
the
etc.,
strongest grouiKis to suppose
that the learned Pap4i ta>s wonderful edition is absolutely genuine* A&,
many of the Texts, mentioned are actually traceabl and one,

Though

rl

Madhusudana's date

e^,

published

by the same

viz,

the Amfa'&MsF&tni of

Bhiradvaja

|i

with

Comm.
As regards the time etc. of Sri Madhusldatia Sara$vatl, a few words
would be not out-of-place. He flourished before >rl Cmitanya^bira, in
Bengal and was the author of several works of great erudition, among
which are Bh&kttrasayQnam ( Ed. Aeyut&iprm$k&m&& Beimres ) and
i

Advaitasiddhi (Ed. Rajendra Ghosh, Calcutta).

51.

Rim RAz

M. DCCC. XXXIV.

$s$ay on

tfo

Ar&Utectw?6 of

tj

]'

18

on which each work treated, or of the authors of the treatises

ttenselves, the renowned Rishis or holy men* who are said to

arts

fasre flourished in the earlier ages."

The South Indian Agamas

mostly with Siva.

"Some

of

diem

extensive works

are

and deal

There are twenty-eight recognized Xgamas. s*

incidentally deal with architectural

subjects, in great

For the South Indian Baivagamas see

H. W. Schomems :
elne mystik Indiem. Leipzig, J. C. Hinrichs'sche
Buchhandhung, 1912. Pp. 7ff. Einleitung 2. Die Caivagama, die Hauptautoritat dee Caiva-Siddhanta (a) Der Ursprung and das Alter der 2gama
Die Gruppierung der Agama and ihr Umfang ; J M. Nallaswami Pillai \
(b)
foajnana SiddMycur of Arunandi Sivacharya. Madras, Meykand an Press,
1913. Pp, Hi -Iv. List of Agamas or Tantra with Upagamas.
a.

52

Der Caiva-Siddhanta

..,

^e

S^^*
nsot

^Soiae of the Agamas deal with very technical matters, which

in the Pterdtnas* Moreover, some ^Agamas, to all intents and
are but architectural treatises- The Kamikagama^ for instance,

met with

sixty chapters out of a total of Seventy-five to

,

and

its

architecture and

treatment of the subjects can hardly be surpassed by that

,afaa avowedly architectural treatise"*

trTbe

Koranagama also devotes much space to architecture and sculpThere are thirty-seven chapters in the Agama, which deal with these
Ifrnakes a distinct addition to the ~Agamas* contribu.subjects exhaustively.
tions to the Silpa-sastras. It contributes two valuable chapters dealing with
th details of tKe nine and ten tala measures. This is also a highly technical matter concerning
sculpture and entirely missing in the Puranas**.
ttare.

HI "Tin

St^rabhedagama has devoted only fifteen chapters to architecture

Nor has it anything new to add to the Agamas* contribu-

sKid sa&^frigre.

tions to the 8itf*a~&Q&fyfas*

it has-

|mfee successfully

IJut

summarised

its
all

unique nature consists in the fact that

important matters in a comparatively

small space, aud in respect of brevity,

explicitness and precision
even the Brhat-s^nMta of Varahamihira."

uThe

it

surpasses

VaikffiLmasagama has two chapters on sculpture, one of which

description of images and the other with the ten

deals with the general

The AwAamad-bhedagama has

R
2^

fe Acharya:
The

28.

2nd.

Architecture

a single chapter

according

to

the

on the ten

19

The

aivag<ma extant the (Uttam)

not older than the 5th or 6th century A* C* 5 **

is pnofoably

oldest

We owe it

to (the religions zeal of)

entirely

the conservation, for posterity, of

some $ipa Texts

and Brahmanieal, and peAape, even Jaina

lost

entirely

the

in

S&aoskrik

Sanskrit versions,

W<<ferftilly

for example,

and of Nagnajit, are

in

of

the

Buddhists,

both Buddhistic

& few of which are

accurate translations of

Works

the

of Xtreya

AB

piwerml
eydopsBdic
|>r.
BerfhoM L&$fer had
compilation Bsim^gynr**
out a critical edltkm of the Tibebm -mcmm of

Tibetan

brought

ascribed to Nagoajlt*

Of
isexts,

^f

are

special Importance

from

pix>aired

the

present
published for the

Nepal,

writer.

mainly

tfce

throc^i

And by him nome

time.

first

soae of

the

of these

Initiaiit

have been

Further information regarding Silpa

worts, preserved In Tibetan translation and

procured in their
original, have also been given, elsewhere, fully, by the-present
60
(rater.

ire

Besides these, a few !iipa Texts of purely Buddhistic nature,

preserved, in Ceylon.
They are in corrupt Sanskrit mmif

3robably Post-Buddhistic, The most important

7
,*
ascribed to SsripiitiB, a

amocg them,

'

53.

T. A. Gopinatha Rao

is

the

&0

Ehments <f Hiwtti twrnogmpky* Vol.

I,

>art I, p. 55.

Catalogue du Jftmds Tib&tain dt la &ib&Qtk&qwe

Bstan ^gyur, Section. J/do-^grd
VatiQnale.
fmtra-vrttit
Commentary
n the sfttras, classed under the general name $ijpa-mdy&-&o$/ra$) p. 474*
54.

Cordier

55.

See Note

29^

Sjrra.

The B&ddkapr&tim&4ak&m$Qm with the ComPrince of Wales Sarasvati-bhavana Sanskrit

Vivaranl.
lentarj
'exts.
No. 48* (Benares, 1933)* See the Introduction*
56.

Haridas Mitra

The

57.
taddhi&t

of Bka&anta MaSjufei, very obliging

well grounded in Pali and Sanskrit, I was

Through the kind help

Monk who

is

t
*

Tbe Ji^fea^^twzS-^Efcs^am

version.

We

58

thiis

have three

is

Deserved also in a

versions

of

this

Sttpa telxt-^

the original Sanskrit, the Tibetan and the Chinese Translations,

w

fot comparison.

But the Jainas preceded

cult
iconolatrous
Very

an

the

Buddhists in the adoption of

the

probably,

artistic

study,

human body, originated with

Ajlvika ascetics, who went about nakec

for r^pr^sentatiotij, of the undraped

Nwgrcmtha and

the

had daily chances

im

of

course

observing the natural

for

59

ascetic

their

practices

bodily forms,
the Jainas
Indeed,

from early times, very considerably to the development oi the plastic and the graphic arts of India. 60
contributed,

the Buddhists

Though

important contributions

to

well

as

as

contained in the $Jpa-wstras, are perhaps

Hie
have

Vastitt-sastms

beep

generally

and

the Jainas have

the Brahmanic

art

much

my

for

an<i its

made

traditions

as

earlier*

subsidiary branch the &ilpa-sQ,stras

included into one of the Upavedas
its

61
Artka-mstra, by Madhusudana Sarasvati
,plefrare

art

personal use a

Nagarl transcription of

this

important

Ceylonese Commentary.

This Teamed

monk

has

undertaken to transcribe

also

in

Nagari^ for

my use^ the two remaining chapters of the Sariputra, as also the .JR&pavaK.
1 am preparing to publish
critical editions of these important Texts of
Buddhistic Art in near future.
J&.

593.

Sea Haridas Mitra

See Berthold

Op,

Latrfer

cit.^

Appendix: Tsao-siang-tou-leang-

Op. cit^ Einleitung.

und

Seit 8

Seit 17.

The

present writer, owes it to the kindness of the learned Muni

the information regarding the existence of a single Jaina
It is in a
Silfa Canon,
fragmentary state of preservation and in MS.
The Authorship of the Work is ascribed to Thakkar Ph;F)eru.
59b.

JSna-^tjayajl,

,;,.

/6o.

Full discussions of these questions have been

gqm&iiwtwns

to

the

study

of)

Indian

Iconometry,

given

in

course

in

my
of

pubication.
SarasvatT

Prasti&na4fcd*>

Ed.

t
*

X.

Subraya

21

But there

hardly any authority or cogency, for including

is

the sciences of art,

the Vastii-Sastras
sculpture etc.
of polity
science
the Artha-

architecture,

and the Stipa-$a$tra#

into

the

eastra.

On

preparation of the Gnomon Sanlcuit

the cardinal points (of the

the other hand, the

nirmanam>, and ascertaining by

compass), the plotting of the ground-plan by means of the plumb

lines Sutra- pato etc-, are really subjects,
appertaining

and other

both to

alike

the

Vedanyic

and the

&ilpa-sa#trai*
related to the Vedahgas
m

The

Jyautisct)

dilpa-Sastras

Kalpa
are

SnlvcL-sutras,

therefore

closely

and must be regarded as a Vedw Upahga.

The Sulva-sutras*- 3 form supplementary parts of the Kalpasutras and prescribe rules for the construction of sacrificial Altars
'

jSidva

having the sense of Rajjw, cords

for

measurement

of

distances.

The two most important

treatises of Sid-vainttra* are those of

Baiulhayana and Apastamba. Two smaller treatises of later

dates, are the Manava and the Mtiitr&t/anlya tfnlva-s&tras. There
is

also

a Katyayawa

Sulva,

Parisista>

belonging to the

The emendations (within brackets) of the Nagan

Text,
the present writer, from a comparison of the different editions.
62a. Dr. G. Thibaut ; Sttfoa Sutras.
J.
Also, the Pandit. Old Series (1874, 1876) Vols.
(1876, 1882) Vols. I & IV.

6ab.
(Cal.

Prof.

Univ.

Baudhayana
four,

M. Winternitz

1927). JP. 277.

and of Apastatnba

4C

A.
IX

A History

OnIy

do we

in

S.

&X

Part

are

and

I*

New

of Indian Literatttre*
the Black

find

Kalpai>u

kinds of sutra texts, .Srauta, Gj'hya, -Dharma

by

1875

Series

Vol.

I,

22

The Sulva-subras

From

give directions for

and the

Altars, the Vedis

construction of the

--

cayane, to collect
the three most important terms
root tin

the

fire

Citis etc.

are derived,

Citi

a.

Sacrificial

altars,

for

the

gathering

holy

fire

agnicayana, agnyadhaiia.

Monuments

Caitya

c.

remains, sacred

funeral pyre for the cremation of dead bodies.

The

Cita

b.

enclosing

the Suddhadhatu,

relics

in these cases it can be proved that these

that,

to

human

etc.

works are indeed so interconnected

extent, they can be regarded as the four volumes of a

certain

uniform work.

post-cremation

It is possible

that

Baudhayana and Apastamba were

actually

Kalpasutras comprising all the four kinds of texts.

not
the
actual authors, at all events, the Srauta, Grhya,
were
if
But even they
of
Dharma and ISulvasfitras
Baudhayana and Apastamba schools are works
the authors of complete

composed on

uniform plan, of these two schools* of the Yajurveda.--

has been edited and translated by

* The Baudhayana-Sulvasutra
the
IXfT
the Spastambiya-Sulvasutra ed.
Vols.
in
Thibaut
"Pandit",
G.
and translated into German by Albert Burk. ZDMG., Vols, 55, 56,
;

P. 278. u The iirauta, Grhya and Sulvasutras of the Manava school*,

and the Kathaka-Grhyasutra, which is related to the Manava-Grhyasutra,
come under the Maitrayam-samhita,..
*

The Manava-Srautasutra

has shown

that

it

is

perhaps the oldest Srautasutra.

who

certainly older than Sjpastamba

is

Garbe

refers to it.

a Katyayana-iSrauta
P. 278-79. u To the White Yajurveda belong
a
and
Paraskara
a
G^hyasutra
sutra,
Katyayana-&ulva-sntra.*
:

Paribist 3

in "Pandit",

to

t^ s (Katiyam

Sulvapari&stam)

ed.

by G. Thibaut

N. S M VoL 4 .*"
u Ritual

which constitutes the chief contents of the

Vedanga 'to receive systematic treatment in
Brahmanas, is,
the
so-called
Kalpasutras. They arose out of the need for
special manuals,
P. 271.

.the

(Kalpa)^

first

compiling the rules for the sacrificial ritual in a shorter, more manageable
and connected form for the practical purposes of the priests."
P. 275.
autras, should

u The

Sulvasutras, which are directly attached to the Wrautabe mentioned, in connection with these Kalpasutras. They

23

Indeed, the

beginnings of the

Vcisiu-wtetra.*

and the

&ily>a-

sastrax are to he traceable to the Ywlahtjic Jt/avtisa, (Kalpa) &nlraxut.-ms**** on the one hand, and to the T&titrikn.
ritualistic Yantras

and Mandala^^

the treatises on

Among
on

J-tfrttisa,

on the other.

etc.,

the Artka$a*tM of

lirhatxamMta

poly-technical treatises

6*
;

The Arthasastra
ings and

Varta and
id* mult i and the

sub-class

KautHya, the

Niti jSastras have been called

the

and the Vart a appertains

to Economics.**

KautJlya devotes some six or seven

of

town-planning, the construction of residential

fort,

and

architecture.

specially military
sastra of Kautilya is an old work but in
than the 3rd century A.C. 07

In

its

of Varahatnihira call for special notice.

The Indian Artha and

chapters to

Nlti and

its

build-

The Artha-

present form

not

older

ArthaSa&tra, Visalaksa,
Bahudantiputm,
as
been
and
U^anas
have
cited
teachers
of Artha.
Brhaspati
Compare also Kamasutra, p. 3f., where it is narrated, that from
the great work by the creator Brahman on the Trivarga, Manu
Kautiliya

with

separated the part dealing

Artha and Nandin,

Dhar-ma, Brhaspati that on

the one on Kama.
servant
Maha-

Siva's

bharata, XII, 59, 28ff ? 76ff.

the measurement ( Sulva

means "measuringthe building of the place of sacrifice and the fire* altars,
and as the oldest works on Indian Geometry, are of no little importance
exact rules for

contain
17

string

and

for the history of science."

63.

See Note 62. Supra.

For examples, see ^t^apcrc^lfirw^c!^*!

Skaradatilakatantram, with
JPadartkadarsha.
Edited
by Afalananda Saras vat!.
commentary q^mfeai
Tantrik Texts Vols. XVI. and XVII. Patala 3.
64.

Ind* Arch

65.

P. K. Acharya

66.

Narendranath

Law

p. 132.

Varta

The

ancient

Hindu

Economics,

2nd. Antiq., Vol. XLVII, p. 256.

67.

M.

Winternitz

(Leipzig. 1922),

Geschichte

p. $23,

der

indisqhen

Littef'atur,

IIJ

24

I
4

And

the great-eyec} one,

Bahuda-ntin is another name of

'Vigalaksa

Piwana.) Visalaksa, Namiin, India,

of them, cited as teachers of 8ilpa.

ke&vara

who was

darpanam,

at

is

Tradition

Sukra and Brhaspati

or Nandlsvara

This

elements-'

Siva.

are,

all

was also an
one NandiAbhinaya-

is

the same time

a teacher of the Lokayata

close relationship, between Lokayata and

the Maliabharata,

regarded Brhaspati
old Arthagastra

it

is

as

the

of

learnt,

Uanas

that

Founder

Brhaspati,

of
alas,

the

the
is

and mixed-up with

71

'The SukramtI 7a

Sukra or

is

work on Abhinaya

preserved to us only in a version strongly altered

modern

of

In the Matsya

Besides, this there

the author of an

system, and there

Arthaastra. From

Artha&stra.

Indra

68

Mirror of Gestures'. 70

'the

'Brhaspati

Indian

name

one

QQ

them Nandikesvara

Among

ancient teacher of Kamasastra.

is

is

i. e.,

work

on

the Textbook

Politics written

of quite recent times,

if

we do not

by
call

68.
See Dr. M. Winternitz Geschichte der indiscJien
Litteratur, III
Band. (Leipzig. 1922), pp. 507-8 and p. 508 Note i. Free translation of this
:

Note

is

given above.

69.

See Text and Note 25.

70.

NandikeSvara's

Ghosh. Calcutta Sanskrit

House, Ltd.
see

kesvara;

Abhinaya-darpanam.

Series.

Calcutta, 1934).

the

J.P.A.S.B. (New

Supra.

No v

F
.

Edited

by Manomohan

(Metropolitan Printing and Publishing

further information
regarding Nandi-

5.

present writer (Haridas

Series). Vol. XXIX, 1933.

Mitra's)

App.

Ill,

Sadasiva -Worship.
see under Nandi-

ke^vara.

M. Winternitz

71.
p. 508.

this book,

72.

Geschichfe der indischen

Littcratur^

Band

III,

(The above passage has been rendered freely into English, from

by the present writer.

M. Winternitz: Op.

edition of Sukramti

c^

p. 532

(Free Translation).

"Besides

of G.

Oppert (Madras, 1882) there is also one of

the^
Jivananda Vidyasagara (Calcutta, 1882) and several Indian
Prints with
translation in Bengali, Marathi and Hindi. Text: another Ed
by B K
Sarkar (New

rk ?

1915); Eng. Transl., bv the

same (AUaUabad),

Qn

25

it,

a forgery.

Whether the remnants

the

heen

The

Sukraniti in an older form

which mentions
architecture

an old Artha&Lstra have

he investigated first/

of

Sukraniti or not must

preserved in

of

be anterior to the Mat$ya-P,,

one of the eighteen authorities

may

as

Sukracarya,

Vfahtsastropatleiakas*

The

deals

tiukra-nlti

with architecture and sculpture in chapter IV, sections 4 and 6.

There are frequent and casual references to both these subjects
in other portions of the treatise

'Varahamibira's

works of the Indian

Astrology.
the
life, all
life

As

as well.

Brhatsamhitu
It is

literature.

varied

branches
in the

one of the most important

a principal work on natural
is

importance in

this subject is of

have been treated

7 **

of

the

public

Hence

work.

it

and

an encyclopaedic character
75
arts and sciences
other
numerous
of

extent

all

departments of

and the private

partakes to
is concerned

some
with

Thus

the

BrhatmmJdta, usually

classed under

the

astro-

but a semi-Purana, dealing, as

nomical and astrological treatises,
it does, with heterogeneous
subjects like the Purgnas themselves.
hut five chapters devoted to both
are
there
In this treatise
is

subjects have been treated with

a master hand.- --Quite consistently with his sense of proportion
Varahamihira devotes only one chapter to sculpture, in which
architecture

details of

and

But the

sculpture.

images are described

in

scientific

manner which

is

the Sukraniti, B. K. Sarkar based The Positive Background of Hindu

Sociology I, II (The Sacred Books of the Hindus, Allahabad)".
73*

Matsya-Puranam^ (Anandakram Ed.,

1907), chap. 252.

See Note

25. supra.

P. K. Acharya
Dictionary of Hindu Arch.^ p. 799
74.
Sukraniti Text ; and the Engl. Transl. by B. K. Sarkar.
:

75.

M. Winternitz

GescMchte

III,

also see

p. 5 6 7-

Brhatsamhita : Ed. by H. Kern (Bibli<>theca Indica} Ed. by Mm.

Sudhakara Dvivedin with the Commentary of Bhattotpala (Fizianagram
Sanskrit Series) ; Transl. for the greater part by H. Kern, JJSAS.
(1870 75). Complete Translation by Chidambaram Iyer (Madura, 1884).
\

26

in his treatise seven

76
distinctly,"

distinctly missing in other ancient literatures

architectural authorities are mentioned

The

authorities

of

and

architecture

sculpture,

specially

mentioned are Maya and Vi^vakarman, Garga and Manu, Nagnajit,

Va$stha and Bhaskara. 77

CHAPTER HI

THE CANONS OF INDIAN ART

not necessary to make anything more than only

to the Vedic, the Epic (Itihasa)
and the
reference

While,
passing

it

is

Classical Sanskrit

and the Buddhist

like

art

architecture,

lengths by more

these

etc.,

competent

literatures

P. K. Acharya

eta,

dealt

being

on subjects

with,

elsewhere,

scholars,

in this connexion call for special notice 78

76.

(Contd.)

the

at

great

Puranas

Ind. Arch., p. 22.

(1

n a,^ u

The

JSrhateamhita

of

Varahamihira.

TCrorsftsBrra:

Ed. H. Kern,

(Bibliotheca

Indica}.
78,

For General information in

full,

regarding the Puranas^ see

Of

the eighteen or nineteen MaJia^purana*, besides the other

9
&pa-puranas'* 9 some nine have special reference to architecture
as

and sculpture

many

etc-

as fourteen

but they deal

of

with

Most of the Pnmnas are Vaisnava and

them are devoted to the worship of Visnu
;

the

images of

the three deities, Trhnurti,

all

forming the Triad.

on V&itti and &ilpa

one of them on town-planning, two on residential buildings and
thirteen on sculpture.
1.

The Agni-piirana has

sixteen chapters

The Ganiga-jmi'Zna has two

2.

on architecture

chapters

and two on sculpture.

The

3.

N&ra-dl.ya-pitrana treats

temples, reservoirs, wells and tanks in

The

4-

tion of temples

its

likewise, treats the construc-

I>raIiinanda-i>Ui'ayia,

and other buildings

in its

The Bhar\&ya-iMrana has

5.

only the construction of

one chapter.

one chapter.

four chapters,

three

being

devoted to sculpture and one on the architecture of temples*

The

Matsya-jjurantt has eight comprehensive chapters

dealing in great detail with architecture and sculpture, constituting
6.

M. Winternitz
PP.

A* History of Ind. Lit. Vol.

I.

sections of the

Ind. Arch.
P. K. Acharya
and
The Age of Munasara
N.
Law
Varta
II.
Appendix
:

V.

especially,

.......

5*7586.
About the Silpa

Section II

Parana s^

see

III.
The Epics.
Dictionary of Hindu Archil.
Ind* Antiq,^
the Hindu Economics^

General Survey.

I.

also

VoLXLVII.
For full lists of the Puranas and the Upa-Pumnas see M. MonierIndian Wisdom (1893, Lond), chapt. XV. ft.Puwnas-, and see,
about eighteen Purimas, pp. 513-14 and about eighteen Upaespecially
:

79.

Williams

521.

Also,

M. Winternitz

Of.

cit., p.

53 2 '33-

Matsya-Purana mentions only four Upa-Puranas. The

Brahma-vaivarta-P., without enumerating them, says that eighteen Upa-P,
exist.
The Kurma-P* enumerates them.'*
the

28

j,

on

Architecture.

In
one of these chapters, accounts are given of the eighteen VastuOne chapter
sastropadesakas, ancient masters of architecture.
is devoted to columns, two to buildings, one to building-materials.

the

Vastu-pr&Jcarana

i.

e.,

the

section

Three chapters are exclusively devoted to sculpture one being on

Talamana, iconoinetry and two others on the Phallus.

The Linga-purana has a

7.

pits,

temples and the installation of

sacrificial

deities.

The Vayitrpurana has a

8.

chapter on

single

single chapter

about building

temples on mountains.
9.

Silpa.

The Sltanda-puranci has

One chapter describes how

Himalaya had a

pavillion

chapters on Vastu and

three
for

his

daughter's marriage
constructed by Vidvakarman under the
and how clever portraits or

PivroMta Gargacarya
life-like representations of all gods were made therein, and they
Another
struck even the gods themselves with awe and wonder.

instruction of his

chapter describes the laying out by Visvakarman himself,

From another chapter, we come to
large city Mahlnagara.

of a

know
command of

made by Padmanidhi, at the

the
Indradyumna, how Visvakarman made three chariots at
command of Narada and how their installation ceremony was

how a

golden hall was

performed by this

rsi.

For informations regarding Vastu, Silpa and Oitra

the most important Paiwanik sources are the Agni, the Matsya
and the VisnudharmoUaram.
'

'The Matsya
works of the Parana

or

Matsya-Purana

&0

...

is

one of the older

literature, or at least one of those which have

to the
preserved most of the ancient text, and do fair justice
It commences with the story of the
definition of a TurSna/

great flood
saves only

out of which Visnu, in the form of a fish (Matsya)

Manu. "While the ship in which Manu is sailing

The Matsya-Purana is published in 5.nan digram Sanskrit Series

transl. into Engl.^ in SBH. (Panini office, Allahabad) Vol. 17.
and
No. 54
See M, Wintemitz A &i$t. of Ind. JLit. Vol. I, pp. 5757^80.

29

being drawn through the flood by the fish, there takes

place between him and Visnu, incarnated as a fish, a conversation which forms the substance of the Purana.
Creation is treated
is

along

in

then

detail ,

follow

the

Neither are

genealogies.

the

usual

geographical, astronomical and chronological sections absent, and

according to Y, A. Smith. ...thG lists of kings in this Parana are
particularly

reliable for the Andhra dynasty.

It has very much
with the Mahabharata and the Harivamsa :---and there

in

common

is

often literal agreement.

and

additions

There

building of a house (chapts.

of statues of deities, temples

"As

far

as

the

are, however, very

For

interpolations.

numerous

instance- -^ceremonies

at

later

the

252 257), the erection and dedication

and palaces (chapts. 258 2 70) -etc.
content

concerned, the MatsyaPurana might be called Sivaite with just as much reason as it is
classed as Visrwite.
of the Vaisnavas are
Religious festivals
described side by side with those of the Saivas, and both Visnu
religious

is

and Siva legends are

In chapter 13 Devi ("the Goddess",

Siva's wife Gauri) enumerates to Daksa the one hundred and
eight names by which she wishes to be glorified.
It is obvious
related.

that both sects used the

8

work

as a sacred book." 81

Regarding the Matsy a- Purana^ Professor EL H. Wilson writes :*The Matsya-Purana, it will be seen,.. .from., .its
contents, is a miscellaneous compilation, but including, in its contents, the elements of a
genuine
Purana. At the same time, it is of too mixed a character to be considered
as a genuine work of the Pauraiiik class ;
and, upon examining it carefully,
it may be
suspected that it is indebted to various works, not only for its
matter, but for its words*
1.

Although a Saiva work,

sectarian absurdities as the
siderable

which
it is

the

interest

but,

if

it

is

KOrma and
it

not exclusively so and

Linga.

has extracted

its

it

has not such

It is a

composition of conmaterials from the Padma,

quotes on one occasion, the specification of the Upapuranas

7
subsequent to that work and not very ancient.
it also

But modern scholars consider this Purana as one of the

oldest, in fact
Padma-Purana seems to have borrowed from the Matsya and not the

reverse.

2123).

(Vide Vincent

Smith's

Early History of India. 3rd Ed., pp. u,

3tt-

B*
is so called because it is
^Agneya or Agni-iyuran,&,
Vasistha by Agni, It
to
supposed to have been communicated
describes the incarnations (Avataras) of Visnu, among them also
*c

The

Rama

and Krsna, where it confessedly

Ramayana, Mahabharata and Harivam^a- Although

those as

follows

the

commences
with Visnur--it is yet essentially a Sivaite work and deals in
It also
detail with the mystic cult of the Linga and of Durga.
mentions Tantric

for

instructions

gives

rites,

images of gods and their consecration and

Ganea

(ehapt 71) and the sun-cult (chapt.

logical,

geneological

and

geographical

it

the production of
refers to the cult of

73).-

-But

sections

the cosrno-

peculiar

to

the

Puranas are not missing. The especially distinctive feature of

It actually
this Purana is, however, its encyclopaedic characters..
deals with anything and everything. We find sections on Geography,
Astronomy and Astrology,-* -on omina and potenta, house building

and other occupations

encyclopaedia or

The

its

of daily

life.

'"To which age

separate parts belong,

enumerates

Matsya-P'urana

it is

impossible to say."

the

Barnes of eighteen

architecture, as quoted before.

83
have been interpreted as below.

ancient teachers

of

"The Rsis asked

'Suta

Deva

are

The passages

be gracious enough to

other houses

remarkable

this

constructed.

tell

us

how

royal palaces and

Also explain to us what

is

Vastu-

i;

SSta replied :'(!) Bhrgu, (2) Atri, (3) Vasistha," (4) Visyakarma, (5) Maya, (6) Narada,
(7) Kagnajit^
(8) Vi^alaksa,
(9)

Indra,

(10)

(13) Saunaka,
82.

M.

Brahma,

(11)

(14) Garga,

tVinternitz

Op.

cit.,

Svaniikartika,

(15)

Sxi

Krsna,

(12) Nandisvara,
.

(16) Aniruddha,

p. 566.

in Biblwtjieca

Indica (1873
Agni-P. ed.
79) and ~Anandctsram Skt.
Transl. by M. N. Dutt (Gal., 1901).
Series, No. 41
The Matsya-ptiranam. Transl. by A Taluqdar of Oudh.
83.
(The
Sacred Books of the Hindus. Ed. by Major B. D. Basu. I. M. S. Vol.
XVIL) Appendix X, by Sris Chandra Vidyamava, p. cvi.
'

31

Bukra and (18) Brhaspati are the

of the Vastu&Istra.
Lord Matsyu had
(17).

Vastasastra to the King Vaivasvata Mauti

Which

I will

now

is

eighteen preceptors
the
explained
briefly

4.

relate to you."

The Agni-Purana 8 *
quoted before

chief

of twenty-five

list

Interpreted thus

authoritative texts,

Brahman, hear me speak about

the consecration of the images of Vishnu and other gods
(1).
"Hayagriva said

O,

1
have already dealt with the principles of Pancharatra** and
which are classed by
schools
of
philosophies
Saptaratra
the Munisi under twenty-five different heads as discussed in

the following books or Tantras, viz.

Agni-Pumnam, Engl.

84.

Chapter

1903.

prose transl. by

In the Introduction Mr, Datta writes

"The
It

leaning.

It

worship.

Manmathanath Dutt. Cal M

XXXIX.
:

contents of this Purana clearly show that it has no sectarian

impartially treats of Vaisnava, Saiva and Sakta forms of
is

more

compendium

any particular form of religion.

delusive division of the Puranas

of Sanskrit learning than the advocacy

among the Titmasa or the

It is classed

of

'.

on the general character of this Puiana.

compilation from various works ; that
consequently it has no claim in itself to any great antiquity, although from
the absence of any exotic materials, it might be pronounced earlier, with
perhaps a few exceptions, than the Mahomedan invasion. From the absence
Professor Wilson thus remarks

also

it

is

evident that

it

is

to the
spirit, it is probably anterior
and 9th centuries of our era between the

of a controversial or sectarian

struggles that took place in 8th

followers of Siva and Visnu'.

u The

word Ratra signiSes knowledge, and the Naradapanchawhich is one of the standard religious works upholding the principles
of the Pancharatra School of Philosophy, defines the term as meaning
the sum total of the five distinct sorts of knowledge we have, of the
external world through our senses
85.

ratra,

32

I
(1)

book

The Hay acirsa

Tantram., which

is

the

of the Pancharatra School, (2) the

Trailokya

(3) the

Baibhahum Tantram,

first

and

original

Mohan Tantram,

Pouskaram Tantram, (5) the

Tantram, (G)
Garga, (7) the Galabum, (8) the
Naradiya Tantram, (9) the Sampracnum Tantram, (10) the Sandilya
Prahlad

(4) the

the

Tantram,

(11)

the

(12) the Svatatum, (13) the

Vashistam, (15) the Gayansagar

Vaishvakam,

Shounakum Tantram,

(14)

the

Tantram, (16) the Shaimbhubam, (17) the Kapil Tantram, (18) the
Tarksa Tantram, (19) the Narayanikum, (20) the
Atrayaum,
(21) the Narasinha Tantram, (22) the Ananclaksa, (23) the Arun
Tantram,,

(24)

the

Inspite of the
ages,

and

the,

(25) the Arsam or the

a synopsis of the preceding one
(2)."

Boudhayan Tantram,

Bicvoktam tantram which

many

ignorant

is

imperfections that Imve crept in

mis-interpretation

resulting

through

apparently

It may be
safely asserted here that Vaisnavism owes its origin to this
school of philosophy, which, with the aid of several
subsequent accretions of
an article of faith or practice from the sister
schools, has determined the
nature and formation of its namesake in modern times.

Sankaraclrya
once questioned the soundness and
orthodoxy of the tenets of Pancaratra
School, and even
attempted to prove their incompatibility with the
principles of the Vedas.
(Vide Sarlraka-Bhasya,

2-2-43, 2-2-44

and 2-4-25).

held a contrary view and quoted glokas from the

^ Ranunuja, however,
Mahabharata and other tantras to show that not
only the Paiicaratra School
embodies within itself the
of Indian
but
that

it is

Sankhya
its

highest principles
Spiritualism,
revelations of the Vedas like the
Philosophy which too was denounced by Sankara on account of

quite in

heterodoxy

harmony with the

t^r:

TOFT*

cTST

37

ii

33

rom

of

lews

the

>f

traditions

P&nearati'fi-

North India,

in

A</t(tnas

5s

the

Agneya

list

to

be

proved

conclusively

mthentic.

"Now, in the case of the Panca&tra, tradition mentions

me hundred and eight Sanahitas, and in a few, texts about this
lumber are actually enumerated. Such lists,
coquetting with the
acred number 108, are, of course, open to
suspicion."

"The

none of the available lists of

which pretend to give 108 names,
ctually conforms to this number but all of them enumerate either
lore names or less, is one thing telling in their favour
and when,
s is the ease, it can further be shown that a
respectable number of
he texts enumerated are still available, while not a few of the
thers are found to be quoted or summarised in the later
literature,
nd that a number of Samhitas which are not included in
of
5amhitas,

however,
including those
fact,

that

any

le

are

lists,

m no longer
sts,

four

in

either

be denied.
all,

and as a

'urana,

extant or quoted

We

have,

and with them a

result offer the

then the value of the latter

consequently,

collated

those

found in the Agnitable in which all the namesfifth

list

ave been arranged in alphabetical order."

"The

Kapinjala list' comprises 106 names, the list of

adrna Tantra
112, that of Yisnu Tantra
141, that of Hayarsa Samhita--- 34, and that found in the 39th
adhyaya of

Agni

^gneya)-Purana only 25.

A
is

still

shorter

list,

namely that of the apocryphal Naradfya,

not been taken into account."

The

literature

of

the

PaucaiTitras,

like

other

sectarian

two broad divisions comprising respectively

works of inspired or divine origin and of human authorship
he latter class,- treats chiefly what are called ridhi and
prayoga
id
consists of digests, commentaries, extracts and studies on
>ecial subjects, and the like.
The former class,* consists of the
;eratures,

into

falls

tmhit&s

or

"compositions"

(compendia)? that

is,

metrical works

34

a number of topics,

dealing,-- -with

if

not the whole,

of

the Panca-

the

Pancamtra,

ratra system- 88

"
f

the

principal

student

scientific

following ten

the

will

treated

subjects

probably

find

in

best to distinguish the

it

(1)

Philosophy

(2)

Linguistic occultism (mantra-sastra)

(3)

Theory of magical

(4)

Practical magic
(maya-yoga}

(5)

Yoga

(6)

Temple-building (mandira-nirmana)

(7)

Image-making (pratistha-vidhi

(8)

Domestic observances (samskara,

ahnika)

(9)

Social rules

(10)

An

figures (yantra-sastra)

(varnasrama-dharma)

87
Public festivals
(ttiaawi)

."

examination of the principal

subjects, treated in the Panca-

ratras, will easily

show the

close

relationship of

with the Va&tu and the

Silpa-sasfras.

many

of

these,

In the evolution and the

development of the Building, the
Plastic and
the
Graphic Arts of India,
the Vedanga
and
the
Jyotua
Kalpa (tZ ) 8utras, the Saiva Agamas and

the

&toa Tantms,

have,
_
It

among

the

Puranas and the

the Brahmanic
Texts,

made

Pancaratras,

etc,

similar contributions.

Even the Jainas and the

Buddhists, did not lag far behind.
will, however, be out of place to make
any discussion of the latter

sources, here-

CHAPTER IV

THE PRESENT EDITION

The

of

preparation

of the Sanskrit

Editions

critical

on bilpa (or, Taut ret) is beset with many

which are of a very serious character.

The language

is,

some

difficulties

on the one hand, obscure and

Texts
of

full of techni-

shapes of explanatory comments

and notes which are fortunately so abundant in the cases of other

calities

branches

extraneous

of Indian Literature are sadly wanting in the cases of the

the

(and

&ill*a

in the

aids

Tatitrili)

On

Texts.

the

hand, the

other

or
Manuscripts of these branches of Sanskrit, are mostly corrupt

mutilated

in

but also

among

craftsmen and

artists

and the

88.

Jatimala.
for the

f&

unfortunate

hereditary

and regrettable

these hereditary craftsmen

on with love and veneration even

carried

no encouragements, the sacred duty of keeping

the

Brahmanic

craftsmen

88
.

flames

Indian

of

have cast

theologians

The NUisastra-kara-x

artistic

down
have

tradition

the

artists

enumerated

Compare Brahma-vawarta Piirawam, Brahma Khanrta. Adh.

(From

a MS., collected

by

the late

Daulatpur Hindu Academy, "wff%^Kl

rt3
I

an

prevails

generations,

The

alive.

traditions

of art

loss

themselves to the literary works on the subject.

who have

there were

for

up

artists

mind which looks down upon

attitude of

when

the

not only to

other reasons, to the indifference of the

however,

There,

and

due,

state,

?&Cv
<3Tte,

*K*jfF3

^"^Tl

2?faC3*63r

TpT

I"

(?)

fwf <T5

WB HffiW ^TTt?

10,

Prof. Satishchandra .Mitra),

Reprinted. rz&s\

<tf

the

musicians

rascals.

owed

the

charlatans

cut-throats,

and

89

And, yet the

have

with

along

36

the Sahgita, and the Natya etc., which

as their
founders,
of hoary antiquity,

tittpa,

reputed JRsis
birth to divine inspiration.

all

their

another set of apparent paradoxes

We

have, therefore,

here,

of Indian culture, which should

provoke serious enquiry.

Very
sruti

elaborate

merits
descriptions are. given of the

pious
and'Artha-vada)
such as the dedication of an

sacred structures

accrue on the part of the donor,

Arts of music

(dgiuipati)?

*?piT

n"

98.

of which

Ayyar

90.

^H%^

and

1,

11"

fwt

(Pluda-

or erecting
image that would

foundations,

for raising

<rfl^ f^f2f^f M" 2

For example, see the rare old Niti-astra, Ca&susvyam, fragments

have been traced and published for the first time A. S. Ramanath
84.
Chaksusiyam an Arthasa&tra. JBORS Vol. XI, pp. 81
ft?ir

ft

37

01
dancing have similarly been glorified
although the artists and
craftsmen themselves, curiously enough, occupy only degraded

positions in society.

Thus the

of Sil^a Texts in the hands of the

and
craftsmen
who were looked down upon, was
hereditary
beset with some difficulty.
But mistakes and lapses in the Mss.

preservation

artists

fortunately seld-um, error* </ commission, and not a few,

are

be

due to inexpert

Unless

scribes-

and

better

until,

may

readings,

supported by substantial
grounds, can be suggested, it is not
allowable to reject altogether the only available texts which bear the

stamp of

tradition

It is, therefore,

very necessary to

of

long succession

through

generations.

very thoroughly the apparently

and
with
the entire critical apparatus
corrupt
contradictory readings
02
at our disposal.

And when
as

Mss.,

Prakaranam,
to deduce some

it

edition.

a great paucity of materials in the form of

case with
the
Devatarfnurtipresent text

there

the

is

is

sift

is

necessary to

some general

formulate

Secondly,

also

is

it

very urgent

devise

to

when

for interpreting the texts of 8ilpa,

means,

laws,

or,

principles for future guidance, in preparing a critical

all

ways and

extraneous aids

are so inaccessible.

91.

Compare Nandikesvara's Abhinayadarpayam

with

Text
jhosh.,

CaL

Introd.,

Ski. Series,

No.

(Critical

Ed, of the

By Manomohan
&L
7b lia (and EngL
[Nu1jam$am$a],

Notes

TransL,

V.),

and

Illustrations.

Trans].).

For the Sahglta-sastra

examples, of such eulogy.
92.

It

he immense

he

sTo.

nd

help,

be,

which

also, it

out of place,
the

present

is

possible

to

compare

writer

to

give

numerous

here, for example,

derived,

by subjecting

confusing readings to Epigraphic and Palaeograpkic

while
elsewhere,
preparing his edition of the important Silpa Text :

apparently

Tests,

The

would not

etc.,

Buddhapratima-laksanam*
48.

The

Sarasvafi

Bhavana

Sanskrit Texts,

(Benares, 1933).
Out of a hopeless medley and confused jumble of data, careful scrutiny
repeated efforts enabled the present writer, to deduce a number of

most important principles.

38

In close analogy to the rules of

interpretations, the Partbhashas of Vyakarana and Mwnamsa Sastras, we must formulate

some

rules, for these

Silpa Texts, too.

As

the (Silpa) Vcistii Sastras are technical and obscure

in
no
violent corrections or half-hazard emendations of
language,
texts
are

warrantable.

Similar

is

the

case

with the

Tantrik

and

Kindred Texts.

Some
follows

the

first rules,

that

should be made,

may

be as

(a)

in the

of

Not a

single

syllable should be

ommited or even a

half,

(ttpa) Vastu and the Tantrik Texts.

(b)

As

in the

Mlmamsa

Sastra,

we should

try to account for

and harmonise any apparent contradictions. When some of

the
texts are really
contradictory, they may be considered to be due
to differences in recensions, sections or
topics.

(c)

Corrections should be

like addition of

(d)
^

metrical

reduced to the

minimum

an AJcsara, as a-Je$ra or anusvara.

e.g.,

For determining the correct

readings not only the
and the grammatical considerations should be
regarded

as important but also the

Epigraphic data are equally valuable.

Besides

these

four main principles, other

important ones
might suggest themselves or be evolved.

Now, we must turn back

to the important
question of the
As has been stated before, there is a
interpretation of texts.
great
paucity of -aids to explanation. Commentaries, notes, so far as both
the (SUpa) Vastu and the Tantra
Sastras are
are

concerned,

39

Yet these subjects arc* of so groat importance, thai some

methods must be found out for the correct understanding of these texts.

very few.

Speaking from personal experience, the present writer can

confidently recommend two very certain methods.

The

I.

parallel

and

By
and

method

compare Texts
compare, them again and again-.
first

to

must he understood

kinship,

and proximity

spirit,

to

is

be no

in

kind-re*!,

e/-,

similarity as regards essence

and

time

of

point

For

place.

comparisons between subjects which have

no points of similarity e. g., between a donkey and a mush-room.

there

can

similarity,

8aflr#!/fi> 9

defined as follows

Two

real

in

most rigorous technical sense,

the

objects,

though they be

they have a sufficient

characteristics, might be regarded as Similar.
different,

number of common
The essence of similarity, Swlrsija
dharma.

Some

notable

features are the

the

examples of

this

is

AbMnaya-hastas,
and the Tantrika
one another.

compared
time and energy

to

such comparisons

will

II.

passages

try

to

But

it

is

common

characteristic

Mndra#

which

may

be

would be useless waste of

compare heterogeneous objects and

be impossible when kinship

The second important method

to trace

if

with such common

objects
the Ncftya-hastas or Karaw.i>8,

jSilpa-hastas

with

is

031

these back,

if

etc.,

are lacking.

of interpretation of obscure

possible,

to the

8an-we Books.

to do with compilations, (as is the case,

Especially, when we have
with the present work, the Devatainnrti-Prakarana) which are

and
based entirely on earlier texts, this method is very effective
for all citations can be
at once corroborative and corrective
it is
;

thus checked at once and with absolute certainty.

93.

See

S V,
f

See Annambhatta's TarkasamgraJia

Mm.

Bhimacarya JhalakTkar

Nyayakosa (Bombay Skt,

Series)

(40
By

back to their sources,

tracing

entire

text

with.

The

of the

at least

about

Ijalf

of the

Devatamurti-PraJcwana could be thus

dealt

limited time at the disposal of

the

present

writer has

unfortunately rendered it impossible to trace and to locate every

passage with equal success, though such an eventuality may

not be impossible.

Once

have been determined,

and the ways and means devised, we can proceed with greater
hopes of success, in preparing the critical edition of the Devatartiurti-Prakaawna.
Though rigorous adherence to these above
principles for guidance, and the methods of interpretation, may
for

all,

our lines

of

action

have drawbacks, conjectures and assumptions without

data will be reduced to minimum.

scope for

any

The Muses

of

outlet

in

archaeology

the

sufficient

Moreover, imagination has little

branches of study.
specialised

and history

are

too

old

to

mount

the Pegasus,

With
to

discuss

these preliminary remarks,

the

readings

passages within inverted

of

the

commas

it

would now be

possible,

Devatamurti-Pralcarana.
are due to the present writer.

The

41

CHAPTER V
DISCUSSION OF THE READINGS.
( IJM,),

ih'catatiitli'tijn'iikiit'itntt

jlspftss^lFi:

lokas, 2, 3

correspond to

Chapter

T.

Matjamatti (MM.), Chapter

alohas 8, 9.
&l.

4 corresponds

to

MM., Ch.

33,

&.

5 corresponds to

MM., Ch.

33,

il.

pfrosr TOFgF?tefJ

8.

sr

10.

si.

12a.

Ha,

U ^

Jl

^ris^t

"^r^n" 5

*T^^-<s^

--

ti

firfcf

M^

H3

||
||

e
{

it
(j

42

Si,

corresponds to

f3*gpW?TTC*j;
i*?facrigf5W: U

om

35Tq>sft
oirs

#Z.

15

bhaga (Part
Si.

I9a

II),

STST^ f

correspond to
4, Si.

Chapt

t*>*$\

^sfsw:

^TS?

srere:" a

&ttparatn.am

Uttara

(sR.),

18.

q^^firfar ?r^

qrs

?^

11

Si.

US.

2631.
3643.

Bibliotheca

^^^gprrnVqi:,

Indica

a?o

arc

r:

\\

ggr

-T:

y^

herewith compare VD. (Visnudharmottaraari)

II, ^cZA.

134

^Z. 5-9,

13,4-5.
94.

present
Series

For detailed information regarding the

"Atre.ya-tilakam seethe
Buddha-pratima-laksanam. The Sarasvafi Bliavana texts

writer's

No.

48. Benares, 1933.

8.
Introduction, pp. 5
Unfortunately, this text is not accessible for the pieseut, so
quotation cannot be given. Sukranlti, Ch, IV, Section
4.
95.

43

4k

,s7.

Adh.

it

and

II,

4,

Ty

0,

40

etc.

anil

./>'N.

.1/1,.

I'll.

>-'/.

\G,

,s/.

-_r,

45

47.
144-

Compare

,s7.

5057.

F/v.

If,

,.,,,.

AiJ/ti/ay.1

also

(;/.

T^/>. If,

Compare, also

135,

,^7.

A'/.'.

II, J-/A.

,1^7*.

135,

13.

,s7,

^sg

Seel"/>. Ill,

1,

,</.

(j

A lh.71,&
(

fj-

^^

tf ^^rra?^

^^ , OT

^g
i

59b.

T:

<Jf.

1-5,

1-2.

1.

n.

tf

-I'/A.
.

re'te

&.

130,

67.

Vasturajai-allabhit,

Chapter

II.

Adh. ID,

81.

>>

44

61.

corresponds to 8-B.

Adh.

II,

SI 51

4,

Si. 4.
ui

SI.

4-13

Si

7b,

Compare SB.,
'^^r" ?f?l *?f^3q^
,

1-2

^/. 9*17.

Part

a.

?fter,

/S'Z*

4,

SI.

3750.

'^%'f

sft:,

AZA.

II,

gf^rar"

Chapter III.

correspond to JOf.

Adh. 33, SZ* 38-40,

Compare MM. Adh.

7, gl. 30ff,

^o u

O. C. Ganguly

96.

No.

I.

The

97.
the

T/w Kirtimukham^ in the

Ind* Soc. of Oriental Art, Calcutta.
:

See F. Otto Schrader

Ahirbudhnya-Samhita*
98.

1912*

?5?Hftm

PP. 68

69.

Introduction

Adyar, 1916, pp* 53

*Ht5tTOT3T*rifcn

to

_ 55.

Rupam (now
the

~Anandasram

defunct),

Pancaratra
Skt, Series,

and

No.

68,

45

Si.

I8b.

frazil
.

?<:

ii

24-27,

Compare Manasara, IX, 387

it

also,

Vaxtn-i'ajamllihha, IV,

u ?^ u
l.

28.

writ ^m^:, fiwft

til. i.

w*

2.

H??l

/S'Z.

3-4

iw^ ^^Nftc^

'^eroors^ 'ST^

Chapter IV.

U *<: u

2?er

^ qriysfer

awfq *F***R

correspond to

The JRfipamamlanam

has been quoted at length by T. A.

GopiElements of Hindu Iconography. We have depended chiefly
on these quotations, they being authentic and providing another version.
99.

natha Rao

46

3, 5, 6, 7.

/.

8.

14, 15.

H
1620. m^irsft^

^^momj'ciT:

graLH^H^:

(17)

\\

f^ft^^:
:

g^:

(18)

[\

(19)
:

\\

*Z.

2134

(20)

[a^ gr^t g?^r:] taken from Visvakavma-sastra* 00

verbatim.

<

M) ^r^r _

^ --

ioo.

Kao

Op.

The Vttvakarma-iastra has been

quoted by T. A. Gopinath^
ctt.
the work has been
published many times see Note 27'
;

'

Supra.

47

/.

38-39.

a
:

(<?)rf?gi

fgarft

q^?ir

u'

3T*ftgrfH
s

0*0

42-46.

asrsft

5! ftro*

47-57.
3?fq

i'

S?jp%

g^qj.

53.

ffg

qre^

59-66.

s
i

qsrr:' Trei^ gfr:'

48

8l.

13

(Chapter V.

Padma-p u-t 'anam,

Compare

Adhy. 10, Utta i'akhan4a Adhy. 127; Brahmavaivarta-P., PrafytiGaruda-P., Adhy. 45 for descriptions of the
kha<tj4&9 Adliy. 19
f

Gcitiirvinuatwnurtis of Visriu. 101

18

&l.

20.

from

Quoted

Skanda-puranam,*

with

minor changes.

from

02

21.

Quoted

22.

Quoted from

26.

From

27.

Quoted from Brahmavaivarta-puranam.* *

Quoted from Padma-puranam^ 02

Brahma-piwanam*

with minor

changes.
&l.

Skandarpw*B,nam

to *
9

with minor

changes.

28.
29.

the Vaisvanara-samMta,
Piiranasamgraha,

Quoted from Brahma-piiranct

Brahm&nijarP.* *

...

30-31.

101.
a

See Radhakantadeva's
e

^^ ^^

Sabdakalpadruma, under

(^0, a modern but authoritative

by Rumatosaaa Vidyalankara under the
patronage of
Pranakrsna Visvas of Kha^aka, on the
Ganges (Bhaglrath^ Ramatosana
was the great-grandson (vrddha
of
vka

\S
^bandha,

^nananda,

/0

the celebrated A gam a vagik

prafautra)
the author of
Tantrasara, one of the best existent Tantlika

Nibandhas, compendmms on Worship and Rituals. See

PT. Pcmcamakanda
Caturtha
Pariocheda,
(VasLafi Ed.),
Xulagranaprakarana,
h
pp. 348 57.
P " 357

49

(i| >
<-<>nip:iiv

lir>'

US.

">~

T;ik.ii

h-oin

th;

!"//.

Iff,

Oh. 54.

Heinfulri, ha.niikltn-mj.'.t-m.'"*

(? ?)

ft

_
:

03 A.

Hem idri
7

^^

Caturv.irSl ,ci,t ta-mai}i

TO-

^ \w&%

>

{Bibliotheca Indicsi)

S.

13

50

^.

Taken probably

71.

froni

10 " 13
^'Z,'.,

Part

Ch. 25,

II,

sZ.

Ill, 112a.

rearer

72-74.

'ft^TOt' io so

76,

..
(

^E.

II, 25,

-6'Z.

116.

83-85.

"ft
.

c-

<0

77-80,82.

^ wit

qrer:

Skt.

Th eSe

'

t.,

qUOtations are also given in

K
f
presumably from another version of
Q3a. See T. A. G. Rao

&.

",U

ho,
o,

Also in

"

"I

1030.
10.^,

"

"

O/.

T. A. Gopinatha

" lCh S0metimes

g^es better readings.
DeVl' Wh " aSt nished with her
Cord's Prowess
.

Both, in T. A.
in T.

Rao

V.

'

Quoted

Series

G.Rao;

A, G. Rao

O/.
:

Oj>.

V.,

c it.

and

&?.

si

86 9LK

10;b

91-93-

94-115-

a\
1

16.

(Chaptui- VI.)

2a, 2e,
\\

1043-

Readings quoted, from the printed Ed. of the FZ>,

loga.

Ve."ikafe.>vara Pr*)*

Readings quoted, from

better
presumably
version, in T. A. G\ Rao

the

lo^bioyb.

110115.

These
*

r -f\

quotations

are

all

Qp*

FD.
cit*

from T.

Sri

1.

()

35.
VETO***

'Z.

52

'

--

^jfg.

Emr^f

II

(<<)

12.

n
u

67,

18, 14.

'vnmnl^r "*

^a

Z.

15,16.

19.

'VWOOTI^"*

o^
l.

61.

20.

ft^sqirt

ogtfr-oqT^qT^:

ftnr:

'

w^

) fffsIR>

05^5^ %?OIT^^^:

21,22.

OTOO
.

Op.

oit.,

25,26.

which represents the

different version,
apparently.

R^arna^lan^

See the present writer*

Monograph, Stdatoa worship in early
Study
History, Art and
& ligiw .
J. p. A. 8. B. (New
Vol. XXIX, 1933, No* i,

i,6.

^
Bengal: A
Series),

another and somewhat

53

U
*( fyaaviJixiX

>*

31, 32.

T^Tf Rffi

7.

33, 31

35a.

36

1.

41.

'wcpTSCTO'T^r

111*

s^qnjgr

mm

42, 43

xS/.

^51

44

40

242

see,
Appendix
and Appendix VI.

B. (Detailed Rituals for

^^ifat^g^r^Rr:
117.
1

8.

119.
is

47-43.

^rq ^TTSRT HsteRrr ^r^lr

Especially,

pp. 225

II.
.-/.

^?^rr

fai^^q^4*nf%, Descriptions
Description tf Sadti&iva (T

</

>S>

Worship and) Description of Sddutva*

(Translation}^ pp, 253, 54,

T. A. G. Rao

Op. dt.

Ditto.

Mat&yapurfwam (Vafigavasi

omitted.

Ed., CaL),

-l^///.

260,

/S7.

21 a

273

54

OSR:

2,

53

()

>

'sR
'

(*)

u'

'

54, 55.

'

56, 57.

58-

g
L

$
TO

'sfcfo

'

59,60.

65, 66.
5

fe

^fiwnTT ^fsfi

i^

^o

^o,

?
fi

Ttfec

sr^o

^R: ^:,
3

i-NTSCTTft: 'sft^'-qrs:

tTT^swrf^cf

f^^g

SL
I.

73a.

'JTO'

84-86; 87-89."
JRT^f,

^T^Tf^
SI.

120.
^ri'Sr

98, 99.

'fico

The ^g

Ifju

and

postures for

Ho

^JT^[^

^frfao

(tf

a?o ^

is-i-,

Cf.

images.

ii

Amukha

^^f^

3^0

names of ^IT^ /OJT^ and

Bk. I, ^^/z 46, /S7, 61.

are the

Silparatnam,

'

121.

T. A. Gopinatha

122.

Ib.

123.

See

Op.

Op,

cit.

^9R*rfta>
J

124.

Rao

cit.

Also
frftsr

r?

see,

^^K^T

Also quoted in T. A. Gopinatha

different version of

^^

^^r^ \\\*

Silparatna^ Adh.

29.

Rao; O/.

^V.,

(but)

from

(a

ti

ri

HPT

BI.

SI.

147, 148.

C^TE^ cf^?l?IT

Bl.

149, 150.

V^^^
^1.

^^1

151, 152.

-- ^g^l
1

J25a.

G7b.

*!$,

--

ti

ti

?<^ u"

Matsya-pumnam

7
(Va.'gavas Kd. CaL).
t

For Kapvta,

^j^///,

262,

/?/.

in

;6a.

I25b.
^qici a kind of plgenn-shtipcd ornament or moulding
used in Architecture, see P. K.
A Dictifmarv </ Hiiiflu ArchiAcharya
:

texture*

s*

v.

56

--

SI.

16S.

a*Tt

SI.

109.

qreigf^psCT

"qt^

srrg

e^T^mrt

qrs:

s&w.

*
I

***&*

^RfH;

(Chapter VII.)

ft^:

1SG

(Chapter VIII.)

u'

SI.

3, 4, 5, 7, 10.

-SI.

13, 14.

SL

15b, 16, 17b.

PL

18-20.

SL

21
:

SL 29

22-23

'swurir' la9

25.

9^1

'swo^'sftia*

30-34

35.

For the important Article of James Burgess

Digambara Jaina
Iconography, see Tnd. Antiq. XXXII, 459, and Ilhistrations of Digambara
126.

Jaina Yakshas
'Z?

33-

and

Yakshinis, 2nd. Antiq.

XXXII,

Quoted in T. A. Gopinatha Rao

464.

Of.

cit,

37

$3

i>u

ti

52-58.

Gl-75ji.

^f

q^

Adh. 260

1343.

Alatsya pura -nam

13-jb.

Silparatnam^ TSS.

VarigavasI Ed., Calcutta;

II, Jr///. 25.

135.

'T.

\*\

r;

?4

y^

'

A.nandasram Skt. Series, No. 68.

136.

See T. A. Gopinatha Rao

137,

Quoted
:

in Ib.

Op.

cit*

(l)

Op.

cit.

w^^f^fff ^f

<"^)

^R

^H

58

^^T ^

HT

SL

SI.

76,

ilT

--

^ni
I

'

77b, 78.
gggqr:

(u77b)

(78S)

(UTS)"

3f2T^: U (77b)

(78|)

U"

1383.

See T. A. Gopinatha Kao

1385.

Matsya-puranam (Vahgavasl Ed.

1380,

Abhila^tarthaoinKimam. M3S, No. 69 (Mysore, 1926).

O/.

cz/.

Cal.).

59

M.

79

SI.

S4b

60a

Sll...

85.

3T^3^rswTJ

fo^i*w?:

f?

SI.

8689.

SL
4
*

^qprir

I!

J>

9094.
WT
*

139,

See T. A. Gopinatha Rao

140.

tbld\

Op,

cif.

*(t)

Both,

Op.

eft.

quoted

in the

apparently a diiTerent version.

14

Quoted by T. A, Gopinatha Rao

G/.

cif.

same.

The

FA

is

60

95

100.

g^:

p:
=3

I)

^og'sprsB |Rer:
i

qsr
v

142.

Quoted by T. A. Gopinatha Rao

O/.

[ u ]

[ u ]

(?) n [

V*

100.

%^?r *<$T3nec^r#

^)

rcwcn

--

109117i

118-

143*

Henvidri

^^'-^^rpi^

144.

Caturvargacinta-mani (Ed. Biblhtheca ludica).

See T. A. Gopinatha E^ao
Of. cit.

145.

Mat&ya-pumnam.

AM.

262.

(Vaugawsl

Ed., Cal.)*

1463,

AbtrihytwthacintMnanL MSS. No. 69 (Mysore,

^oM. i,'i/. 803 810.

147.

T. A* Gopinatha

Rao

Qj>.

dt.

1926),

Prakara

Si
\

119, 120.

<ror

'aifiwwfa

62
1

fjtfamftiwr *&tei*$i

*8

^fNfcwrfW^' STOW&ft
wtzwfes

qfeg

f|

Wdfoft

148.

CSS. No.

Nandikeivara's
5, si.

37 and 247

AbUnayadarpanam
;

36*

(Ed.,

Manomohan Ghosh)

CHAPTER VI

THE CONTENTS OF THE DMP.

now remains

It

r
giv e

to

short

of contents of

summary

the work, which consists of eight, 8 chapters, Atlhikamx*

Chapter I consists of 59,

section

wood

stone,

of

the

blocks

suitable

(slokas 2

images

etc.

9)

(5.

the auspicious

The

10).

comparison with the height of

sanctum

(sL 21

in dwelling

of

of

duration

48 5 49)

(si.

of

their

of these disturbing

instructions

and the

etc.

tion of

images

(58)

and

terrestrial,

omens on

their

and the

on the

the

(l>)

the door,

living

the

(54b)

omens

(55, 56)

the

worshipped

fitly

The omens and

lhauma

($L
(il.

effects

(51.

4547)

30

41)

42)

the

44)

the

other kinds

differently of the various

beings

($.

50

54n)

the

propitiation or pacification

nnd the

of

(<*)

the laksanas, marks

the king

special

effects

effects

height

the heavenly A'n/<i, the

viz,,

their effects ($.

commencement

for

images

and

43)

disturbances

of

types

(5Z.

signs of images

omens

types

the celestial

of

effects

of liiigas

ominous

different

antariksii

atmospheric,

and the

the temple,

images and those of good ones.

adbhutas of

portents,

purpose

the inferior types of images in

the height of images to be

and

examination

^rtfi/'/ua^^v/-'^^-;^*-'^??.,

(a)

first

time for selecting such

houses or outside dwelling houses,

inauspicious

omens

L'5)

the

stone, timber etc., for the

of

medium and

the

superior,

with sila^r'tha^

deals

10)

of

selection

of

(*/.

The

verses.

fifty-nine

effect of the

same (57)

journeys and for the entry of

the astronomical considerations for the installa-

(59).

Chapter II of DJI/P., dealing with the

determination

of

the respective

lirativia-talti'ui'ninjtt,

heights for images, consists of

33 5

thirty-three verses.

The

first

which increase
the tola.

few verses (.13) give the units for measurement,

in

multiples

of ten,

The

highest working unit

is

64

(si.

Images vary in height from one tala< to fifteen tolas

no images should be made of longer proportions.
4-l3a)
;

The

proportions

respective

tolas
(si.

lBb-15)

(si.

16

18)

are

images

.in

given, of limbs in

seven and a

of

in images of eight talas

eight and a
nine talas (sZ. 25

of

half,

8|

talas

(xl.

22

(si.

19

24)

images of seven
half,

7-J

tolas

21) and in images

and lastly in those of

32).

with
28,
begins
twenty-eight verses
of
the
(si.
buildings
1, 2).
ground-plan
plotting
The respective positions of the different deities in the general plan,
The presiding
8).
devatd~pada.-stJian.vm, are next given (si. 3
III

Chapter

of

for

directions

positions in a
are next given

with respective

deities

devata-ilwti-zthanam,

plan of
(si.

sixty-four
plots,
The
directions
21).

compass) to which the respective deities

temple?, are next given (si. 24- 27).
(of

the

should face in

Chapter IV consisting of 67, sixty-seven verses, describe

1
of
images of Brahman and his manifestations (si.
7)*$
of the Vedas and Nrtyasastram
his consort (si. 8)
the position
;

of other auxiliary deities in a temple for Brahman

eight attendants of Brahman (si. 1020).

(sl<

14, 15)

the

The

twelve forms of Surya are next described (si. 21

34)
the position of the subsidiary deities are next given (51. 35
37)
and the attendants of Surya (si. 3846).
;

The nine
(si.

48

58)

chief

planets,

ndvagrahas

are

next

described,

as also the ten guardians of quarters, dasa-dilc-palas.

deals wholly with Visnu and consists of

Chapter
one hundred and sixteen verses.

The

first

few verses

(si.

6)

show the

suitability

of

116.,

parti-

forms of Visnu for particular castes. The conditions, when

mutilated images are to be accepted or rejected^ are next given (sl.7).
cular

The next

section on the twentyfour forms

of "Visnu,

Catur-

vimsatwnurta.i/ah, enumerates the distribution of the objects, [.held

in liancfe, for the various forms (si. 8
13) and the Order of distri-

bution

(si.

14).

The next

65

(si.

15

a long section

is

and the

(51.

18

(sL 15)

stones

for

10, 17)

with

are

certain

20)
types (si.
the differences in merit owing to variation
and the respective names according to variation

given
modifications

(SI.

in colours

(si.

22)

of colours

(si.

23, 24)

suitable sizes

the unsuitable

also

as

the examination

S^ag rawa~$ila-jHirtk8a

selection of sala'jratna stones,

and

the suitable form

63) on

21)
;

and the proportion of the discus, eakra-

pramanam.
In the next subsection, cakra[riscs^laksana^i, the partithe differences in
cakrax are described (17. 20 36)

cular types of

name according to colours and their particular merits (StL 37 40)

other kinds of cakras
and their resultant merits in worship
;

(si.

41

4551)

43,

described

(si.

52

60)

and

of

the

aJ-a<jrama stone

the

sales

the ten avatara* of Vis mi are

44)
the banning of exposure of ctiki'as (sf. f>l)
of the same (SI. (j2) ; the glorification of

(51.
;

etc.,

next given.

is

In the following section, particular forms of Visnu images

Anantaare described
Vamana (si. 00 71) Rama (07. 72a)
Balarama (si. 75) Nrsimha (si 72 74, 77 82, 8385) Nam;

Varaha

76)

(si.

Visvariipa

(si.

Jalasayin

9497)

(5/.

8690)

Ananta

(SL

Vaikuntha

1)8101)

($1.

9103)

Trailokyanioliana

OS) and the distribution

(5/.
105)
Pannaga&ma (S?.
of auxiliary deities in Visnu Temple (/, 100
109) and the
115).
description of Vismi's attendants (si. 110

102

04

of

Chapter VI of DMP* is a lengthy one, consisting of

1G9 one hundred and sixty-nine verses and describes the images of
Rudra and the ^phallus, linga.
9

of

The first few verses

Vamadeva (xl 35)
.

of I&i(57.

(57.

13);

(xl.

Next,
17 IS)
9

(&. 21, 22)

are
;

give descriptions of Sadyojata (^Z. 1, 2) ;

of Tntpurusa
of Aghora (sL
12)
;

H).
described

K'iranaksa

Mrtyunjaya

15,

1*)

Vijaya
Srilamtha
\

(&. 20)
Agliora
25, 20).
Sudusiva
>(&.
23, 24),

(SL 10)*;

Mahadeva (&.

(SI-

66

Then
(67.

2730)

and Uma-Mahesvara

Krsna-Kartikeya
Hari-Hara-Pitamalia (&l.

(61.

Pitamaha (61- 44
Candabhairava (61.
(l. 54, 55)

From
two
to

of

are given descriptions, successively,

(61. 33, 34)

41)

46)

Ardhanaiisvara

Krsna-Sankara
Siva-lSTarayana (61. 30

(61. 31,

35a)

32

42,
43)
(Surya ?")Hari-HaraCandranka-Pitamaha
(61. 47, 48)

4951)

Virupaksa

(61. 52,

53)

Tryambaka

Hari-Hara-rnurti (61. 56, 57).

Sankara and Krsna, result 32, thirtyof images, which are not described, but are

the union of

different

varieties

be known from instructions.

The Ling as form

(<SZ.

59

152)

phalluses
phalliises

are
(61-

eight

first

the

subject of an entire lengthy section

metallic substances for making

different

given

60) and

(61*

their

59)

the

varieties

proportions

of

metallic

(6L 61) and phalluses

of

jewels (l. 62) are given.

proportions of phalluses made of timber (&L 63)

the suitable kinds of timber (Si. 65,06)
varieties (Si. 64)

The

(l. 67) ; the suitable types of building for

ous kinds of phalluses (Si. 68) are described.

characteristics

their
their

the vari-

Then, follow, the proportions of the stone phalluses (<S'L 69j,

70); their various names (Si. 70 74); the proportions of the
phallu'Ses to the size of the Temples (SL 75
78) and to the sanctum (Si. 79 80) the size of the phallus (61 81, 82) the divi.

sions of a phallus

The Nagara-linga,
84
88)

(l> 82, 83).

its

three

its classes
; the IJravida-linga,
the Vescwa-lingas are next described.

86)
;

and proportions (61.

and proportions (61. 87

classes

The

Astrological considerations as regards Temples of the

eta
(Si. 90
phalluxes
94) ; the auspicious signs (Si. 95) ; the
clock-wise spiral and the colours which are conducive to happiness
the method of marking lines on
96)
any phallus ; the shape
of the upper parts of phalluses (;$. 98, 99)
the bad signs of
and
the
phalluses (61. 100)
proportions of crystal and wooden
(61.

phalluses

(61.

101) follow, successively.

67

of

The next subsection is concerning liana-linyas. The places

the selection of Hanaorigin of Hana i>h<dlnsv8 (si. 102, 103)
;

the bad ttami-liitijas (si. 105, 100)

104)
when
even
tions,
pieces of stone are sacred (si. 107)
Hh<ja--> (si.

the condi-

the

saered-

from any place whatsoever (sL 108) the shape of

lianas which give wealth, etc., (si. 109-110); the sacred ness of
the merits of installing
lianas, under all conditions (si. 111114)
the glory of worshipping liana** having one
Jiann-s (sL 115
121)

ne,srf

of .liana*,

to fourteen a#ra*

The
(s!.

123)

122) are described, in order.

(si.

characteristics of sacred tanks attached

the

merits

of

baths

talcing

to

same

in the

(51. 126)
should face
;

shrines of

125) and special restrictions with regard to Jaina shrines

the directions to which the water conduit , pranala,

127)

(SI.

129) and conduits

($1-

washed

is

(si.

and

l"24.a)

(si.

the sins for stepping across waters, with which friva

the procedure of eircunibulating sacred
(51. 124b)
deities

shrines

fcfiva

the characteristics of pedestals

etc.,

(.*/.

129132

and 150)

etc.,

and

(S/.

128,

of sluices

138) are given.

The

diverse parts of a Pitha, base (#1. 134

13S) ; the directions against making the iittya or ^\tha too small or big (51. 189)
and defects for these (si. 140) are described.

The

varieties of Pedestals

of the different Pedestals

147

148)
same class with
(51.

Mukha-ltnyti

(51.

(51.

14*2

14(>)

the directions for

(51.

the

141,142) and the characteristics

yhallttses

and their

(51.

141))

qualities

Pedestals, to be

making

151) and the names

special

tlie

characteristics

the

of

of the

different

of

faces

(sL 152) are described.

Next, are described, Siva Temples with one door (51. 158, 154)
and the Guardians feeing the
and with four doors ($1. 155
157)
the west (5/. 102, 168)
the
south
feast .(*/. 158, 150),
(fi/. 100, 101),
;

and the north

(&>

104,

H>5)

respectively

and

lastly,

the

positions of the animal vehicles, rahaita* for deities ($1. 100, 10^)
the height of the images, to which, their respective vahana$ should

look up

(51.

108).

68

Chapter VII, consisting of 74,

descriptions of the twentyfour Jaina
attendant yaksas
Tlrthankaras (si.

Dhvajas,

and
1

(si* 5,

flags

(si.

10, 11) are given.

gives

and

of

their

the

twenty-four

the respective bodily colours (si. 4), their

6) and the Lunar mansions^ Bhas of birth
;

9) for the different Jinas

(si.

verses

Ttrthankaras

The names

yaJcsinls.

3)

seventy-four

and

their birth-asterisms,

B>asis

Next, follow, the names of the.yahsas, that attend upon the

service of the Jinas, Jinopasalca-yaksas (si. 12, 13)
the attendant
;

female deities to the Jinas, tiasanadevls

The next
and the

subsection deals

yalcsitus

for

each

(si.

14

16).

with descriptions
Jina^

particular

of the yalcsas

Jina-yaJcscL-jaksinl-

male and the female attendants for the twenty-four

Jinas being given in pairs ($1. 17
65).

murtis

the

There
cribed
to

(51.

the

is

66

a second twelve-handed variety of CakreSvarl, desas also the names for the eight attendants
6Sa)
;

Vitaraga-

the

self-controlled

one

characteristics of the eight attendants to

Chapter VIII and the

twelve verses * concerns

female

the

the

itself

(si.

6Sb, 69)

Jinendra

(si.

and the

70

78).

last containing 112,, one-hundred and

almost wholly with descriptions of

Devt-murti-laksanas.

deities,

The opening verse (SI. I) gives the general description of

Image Gaurl, Gaiin-murtlnam samanya-laltsanam ; then follow
names

of

twelve different varieties

of

Gaurl

(si.

2), as well

as their descriptions (si. 3

14) ; the deities in a shrine of Grauii
the
attendants
and
to Gaurl (sL 18
17),
(IZ..15
20) have afterwards been described.

The next
his

different

Vakratunda

section

forms,
(SI-.

25),

(si.

21

Heramba

35) describes Ganesa

(sL

22,

23),

Gajanana

Ucchista-ganapati (5L 26),

"Ksipra-ganapafei (si. 28)

attendants of Gane&i (si.

the deities in a

30

35).

(si.

shrine

21) and
24),

(si.

Heramba '{SL.
of

Ganesa

27),
;

the

69

The

his twelve-handed

form

(si.

and the four-handed form

The next

3642) deals with Kartikeya

3640) the two-handed form (si. 41a)

section

following

(si.

41b, 42) are described.

(si.

section

describes

43

(si.

the

46a)

five different

forms of an entirely unknown female deity, Pafocal'tlaya (?) with

the special characteristics of each particular form (si. 44
47a).

The next
female

nine

section

47b

(SI.

Navadurg&s

deities,

their individual characteristics

names

their

49

($.

a description of Ksetropala ($

of

58) consists of the group

(#/.

This

58).

47b

49a)

followed

is

by

59, CO).
*

The

79

next

(U.

61

of

each,

(17,

9094)
The

is

character

individually
is

(*/.

by Mahalaksini

is

(SI.

(*/.

Laksmi

of postures

ments of the hands and eyes

(SI.

119)

the body
($1,

in

(*/.

101

(*/,

86

and the

Dance

121-122) verses

(si.

special

120)

for the

(SI.

118)

of

the

form the closing

author's

the final benediction,

compilation, and

(SI.

is

109

This

given,

117).

and of the move-

purpose of (dramatic) expres-

function

contain the

80).

Candi

100).

Then,

107, 108),

and gestures

The

85)*

95100).

with ten hands

description of the deity Katyayanl,

sion

80

section describes the twenty-handed form of

deity, described next,

The use

and the

(S/. 71))

described, next

and the attendants of Candi

followed

forms

twelve different

the

their general

eighteen-handed form of Bhadrakali

The next

Mothers,

Bhairava ($. 70), (Jane&i

75),

describes

section

particular characteristics

the

77-78).

(S/.

85) of Sarasvat!

with

deals

78)

eight ($. 61

70) and Vires vara

The
(SI.

section

who number

Matrs
(SI-.

next

different
part.

The

parts
last

of

two

apology for preparing the

CONCLUSION
As has been

Atmaja, son of Srlksetra,

Sutralhrt Mandana, the

of

the Devata~murti-pra7cara.

clearly pointed out,

is

compilation.

The
that

author has used

at his will

is,

many Texts which he has

he altered

as they concern the

Dhyana

slokas, are

We can, therefore, take

or

Upasana Sastras.
only as mere descriptions

freely modified,

Such changes, as far

not authorised by the Tantra

their readings.

these verses

at

best,

the guidance of artists and

they are not to be taken too rigorously, or to be followed too literally.
of images, for

The work demonstrates

striking

spirit of

rapprochement

or mutual assimilation on the part of the different sects

even
the Jaina deities are allotted a conspicuous place.
Thus we have
;

not only the well-known Hermaphroditic Uma-Mahesvara and

the Ardha-Nansvara forms but also such composite forms as the

Krsna-Sankara, the Krsna-Kartikeya*

J
*

Not

we

only,

have

such

deities

as

Siva-Narayana,

Hari Hara-Pitamalia, (Surya ?)Hari-Hara-Pitamaha, CandrSnka*

Pitamaha, Hari-Hara
revealing close admixture of Siva, Visnu,
but we are told of thirty-two
Brahman, Surya and Candra
;

images formed by the combination of Krsna and

which have not, unfortunately, been described (for fear of
but they must be learnt from Brahmanas).
It is,
prolixity
however, doubtful if all the described images were actually wor-

different

Sankara

shipped. Sadasiva
Finally,

Publishers

of

Worship seems already

my
this

thanks are

DMP.

best as possible, in spite of the

my

to

disposal.

have

by the

tried

limitations of

me

to write out

to do my work, as
time and resources

I shall be highly gratified

if it

will

service to students of the subject.

3 rst Chaitra, 1341 B.

time.

the learnecl Editor and the

well-known Series, who invited

this Introduction to the

etc., at

clue

to be extinct

HARIDAS MITRA

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